Showing 28 items matching stancy
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Whitehorse Historical Society Inc.
Article, Council to support amalgamations, 1993
Nunawading Council is to take a pro-active stance on council amalgamationsNunawading Council is to take a pro-active stance on council amalgamationsNunawading Council is to take a pro-active stance on council amalgamationslocal government, city of nunawading, amalgamations -
Tatura Irrigation & Wartime Camps Museum
Coffee Percolator, 1950
Presented by owners T & W Elmecker, (formerly from Europe - possibly purchased there by them). c 1950. W. Elmecker crew member of Kormoran which sunk HMAS Sydney in 1942. He settled in Tatura after the war.Silver coffee percolator, 1 1/2 litre, glass lid, wooden handle, upright stance. Early example of coffee percolator.(in a diamond shape) G B with N underneath. Bavaria. Patent ANGEMELOET -
National Vietnam Veterans Museum (NVVM)
Uniform - Uniform, Army, 11th Armoured Cavalry Regiment (ACR) Patch
Black cloth patch bordered red and white diagonal colours on a shield patch. Black borse in rearing stance featured in the middle of the patchcloth patch, insignia -
National Vietnam Veterans Museum (NVVM)
Uniform - Uniform, Army, 11th Armoured Cavalry Regiment (ACR)
Black cloth patch bordered red & white diagonal colours on a shield patch. Black horse in rearing stance featuared in the middle of the patchcloth patch, insignia -
Chiltern Athenaeum Trust
Miniature soldier set WW1, Circa 1914-1915
Model of soldiers WW1 in varying stances and roles. WW1 The Great War 1914-1918Lead set of khaki miniature soldiers circa WW1 consisting of ten (10) model soldiers and one miniature stretcher made of dusky pink wool and two wooden carrier rails either side. ww1 lead model soldier set, the great war - set of model lead soldiers -
Nillumbik Shire Council
Sculpture: Angela NAGEL, Angela Nagel, How to Explain Genetics to a Thylacine, 2009
Entry into the 2009 Nillumbik Prize. Angela holds a Masters of Fine Art and has worked with clay for over 20 years. Her work is held in collections around Australia.Angela Nagel's creative practice is informed by an interest in the human condition, universal symbols, mythology and Jung's theory on the 'collective unconscious'. Her hybrid part human/animal creatures reference introduced species and indigenous Australian animals as a way for her to explore a personal mythology, and narrative, of home and environment. Recent work is developing around the relationship of ceramics to other materials such as glass, printmaking and found objects. Angela holds a Masters of Fine Art and has worked with clay for over 20 years. Her work is held in collections around Australia.Human and animal like figure in the stance reminiscent of classical sculpture. Hand built ceramics with engobes, oxides, glaze and gold leaf Medium: Porcelain, oxide, underglazeangela nagel, nillumbik shire council collection, victoria, nillumbik prize, ceramic -
Geoffrey Kaye Museum of Anaesthetic History
Photograph
Black and white photograph of a demonstration of a dental procedure on a patient who is receving anaesthesia. An anaesthetist standing on the right is supporting the patient's mandible and administering anaesthesia to the patient through an inhaler. A second person's hand is holding a mouth gag dental instrument in the patient's mouth. The background of the photo has been covered with black ink so that only the patient, anaesthetist and hand of the third person are visible.•Printed text in black ink on paper label glued under photo: Supporting the Mandible : the Anaesthetist's Stance. •Handwritten with blue ink on reverse: Photo. 7. / (Frame 22).dental procedure, anaesthesia, anaesthetist, patient -
Nillumbik Shire Council
Sculpture: Angela NAGEL, Angela Nagel, Last on the Island, 2012
With an interest in 'Collective Unconscious' Nagel aims to explore the human condition, and our impact on the natural world / This figure embodies human and animal traits with semi-autobiographical references to investigate concepts relating to identity and home / Nagel focuses on the extinct, the pest, the endangered and the introduced as a way to reveal her concerns of humanity as creator and destroyer / In this sculpture a koala headed figure is in the pose of the martyr St. Sebastion / With no arms, there is an inability to protest or fight. This work is by a local contemporary artist and encompasses contemporary themes / This work was a finalist in the Nillumbik Prize 2012.Ceramic - sculpture human and animal like (koala) armless figure depicted standing in a similiar stance to that of a classical sculpture / Blue and white body with a yellow face / Made from porcelain with oxide, clear glaze and undergaze.nagel, sculpture, porcelain, animal, ceramic, classical -
Unions Ballarat
International socialism & Australian labour : the Left in Australia, 1919-1939, Farrell, Frank, 1981
The book reflects upon the Labour movement's stance on World War I and, later, the threat of World War II. Right-wing political influences of the day are considered.Social and political commentary pertinent to the WWI and WWII era.Paper; book. Front cover: green background; orange and yellow drawing of a man swinging a mallet; orange and yellow text. Front cover: author's name and title.btlc, ballarat trades hall, ballarat trades and labour council, social commentary, politics, labour movement, wwii, wwi, working class, socialism -
Bendigo Military Museum
Photograph - PHOTOGRAPHS, WW2, 1941 onwards
Richard Alexander Hanson initially enlisted in the CMF No V85605, transfers to the AIF No VX111070 on 18.6.1940 age 29 years. posted to New Guinea as CO of a heavy Artillery installation team. Later posted as CO of a Japanese POW Camp New Guinea. Discharged on 7.6.1946 with the rank of Capt in Port Phillip Coastal Battery..1) Photo B & W showing a group of 20 soldiers including one native al in different stances in a jungle clearing. .2) Photo B & W of a truck/trailer with some sort of lifting device over. .3) Photo B & W of a New Guinea Native girl in a white dress..1) Paper stuck on rear basically says, "Capt R.A. Hanson is in front and to the right of the Digger in black shorts and hat back row". .3) On rear, "KOWI (?) May 1941 Port Moresby, Alec".photographs, artillery, new guinea -
Unions Ballarat
Australian labour leader : the story of W.A. Holman and the labour movement, Evatt, HV, 1942
Story of WA Holman who was a NSW union organiser; he entered politics and ultimately become Premier of NSW. His pro-conscription stance led to his being expelled from the Labor Party. He had a subsequent career in federal politics under the Nationalist and United Australia Parties; during this time he did not distinguish himself.Relevant to Labor and Australian political history. References to conscription. The author, HV Evatt, was most notably known as Leader of the Australian Labor Party (and Leader of the Opposition) from 1951 to 1960.Paper; book. btlc, ballarat trades hall, ballarat trades and labour council, holman, wa, unions, politics, premier - nsw, conscription, parliament, government, nationalist party, united australia party, alp, australian labor party, union organisers -
Bendigo Military Museum
Postcard - POSTCARD, PORTRAIT, 38th Infantry Battalion, c1916 - 1918
John Allan FLEMING enlisted on 19.1.1916 age 26 years 6 months in C Coy 38th Bn Regt No 873, appointed Cpl 5.3.1916 then Sgt 6.3.1916, appointed CSM 20.4.1916, embark for England 20.6.1916, he was appointed Lieutenant as he was hospitalised with fever on 18.8.1916, rejoin unit 24.8.1916, embark for France 22.11.1916, 28.11.1916 attached to 10th LTMBattery, discharged from the AIF on 5.5.1919. Post War he had a career in the CMF ending in 1945.This is a B & W photo of a boxer in bare fisted fighting stance. He has a tattooed chest which appears to be of a dragon. He is wearing dark coloured trunks and wearing a Championship belt. See Cat 6634, On the rear of the postcard, written in pencil, are the words Championship Boxing Belt (?8) BN 1st AIF. John Flemming. Donated by May John A Flemming.boxing, 38th battalion, 1st aif, passchendaele barracks trust collection -
The Beechworth Burke Museum
Animal specimen - Bassian Thrush, Trustees of the Australian Museum, 1860-1880
The habitat of the Bassian Thrush includes leaf littered and canopied gullies and dense forests. It forages for food on the ground eating small invertebrates and nests in tree stumps and tree forks. Primarily found in Tasmania, South Australia and Queensland, there are three sub-species of thrush, Zoothera lunulata cuneate (Queensland), Zoothera lunulata halmaturina (South Australian and Western Bassian Thrushes) and Zoothera lunulata lunulata/Zoothera lunulata macrorhyncha (South East Australia, Queensland, Victoria and Tasmania). Because this bird is a ground foraging species, the main threat to the Bassian Thrush is the ground clearing of its habitat, and unfortunately, the South Australian Zoothera lunulata halmaturina sub-species is considered vulnerable because of the bush fires that have eliminated much of its habitat, especially on Kangaroo Island. While the overall structure of this particular representation of a Bassian Thrush is relatively accurate, some of the smaller details are lacking. The eyes within this particular specimen are not accurate. Instead of solid black eyes, this specimen has golden/yellow eyes with black pupils. Another inaccuracy is some inappropriate intrusions coming from the beak (most noticeable in the left and right close up images). From the photographs, it is unclear if this is a representative/presentation choice or a condition problem caused overtime. Unfortunately, several aging problems have also occurred over time, with the bird’s feathers fading (Bassian Thrushes have distinct dark brown and black and white scalloped plumage) and the beak which was probably once dark grey has faded to the under colour, a yellowy cream. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.The Bassian Thrush has white and black scalloped plumage on its underbelly with caramel, soft brown and black tipped scalloped plumage on its back. This soft brown continues onto the bird’s head and neck. The thrush has a white rim around the glass black eyes. When seen in flight, there is also a noticeable wide band across the underside of the wings which is not visible on this specimen due to its particular stance.Swing tag appears to read: ‘46a [the a is superscripted] / Mountain Thrush. / See Catalogue, Page 16. / The number in the top centre of the wooden perch reads '63'taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, bassian thrush, zoothera lunulata, white's thrush, ground thrush, scaly thrush -
City of Ballarat
Public Artwork, Harold Edward Pompey Elliot Memorial by Louis Laumen, 2011
Harold Edward 'Pompey' Elliot was first and foremost a soldier. Schooled in Ballarat, he spoke often of his love of battle, and the sheer beauty of the fighting troops. This contemporary bronze sculpture has detailed elements of the uniform and posture of the military of the time and stance of a man sure of his own strength and willing to command in the harshest of conditions. Signed by the artist along the sword scabbard. Stamp of foundry marking on the boot edging. The four plaques surround the sculpture and plinth detail part of the story of the Major-General and Senator. The memorial is of historic and aesthetic significance to the people of BallaratBronze soldier statue of General Harold Edward "Pompey" Elliott on bluestone & granite base.Signed by the artist along the sword scabbard. Stamp of foundry marking on the boot edging. Four plaques surround the sculpture and plinth. Each is mounted and details part of the story of the Major-General and Senator. pompey elliott -
Forests Commission Retired Personnel Association (FCRPA)
Broad Axe, double bevelled edge
There are two categories of cutting edge on broad axes and both are used for shaping logs by hewing. 1. Single bevel axe - one side is flat and the other side bevelled, also called a side axe. The handle may curve away from the flat side to allow an optimal stance. The flat blade but can only be worked from one direction and is right-handed or left-handed. 2. Double bevel axe - both sides are bevelled and produces a scalloped cut. The axe has a straight handle and can be swung with either side against the wood. A double-bevelled broad axe can be used for chopping or notching as well as hewing. Broad Axe - Double bevelled edge Straight wooden handlesmall lettering and government crows foot -
Nillumbik Shire Council
Work on paper - Print (Serigraph): Ray Thomas, Brolga, c2000
This work is a serigraph (screenprint) on cartridge paper using blue oil based inks of the 'Brolga' (Australian Crane); a common, gregarious wetland bird species of tropical and south-eastern Australia and New Guinea / It is a tall, upright bird with a small head, long beak, slender neck and long legs / The pose of the bird represents their stance when calling out to their mate, which sounds like a loud trumpet / The decorative markings on the bird's plumage is from the traditional carved/etched Gunnai shields from Gippsland Eastern Victoria, which is where Thomas' people are from. Underneath 'Brolga', on slant, lower right in greylead pencil (?) handwritten artist signature and language group "Ray Thomas - GUNNAI" -
Ballarat Tramway Museum
Postcard, Kodak, ESCo crossbench tram No. 19
Printed black and white photographic postcard of Ballarat ESCo crossbench tram No. 19 at the intersection of Armstrong and Sturt St. travelling east along the north side of Sturt Street. Photo appears to be taken in the early days of tram operation - small destination box. Has the Ballarat Town Hall, the National Mutual Life building, Snows and other buildings on the south side of Sturt. St. Has a number of horse drawn vehicles in the image as well. Titled "Sturt Street, Ballarat" in bottom right hand corner". On rear of postcard, printed is the words "Post Card", areas for "Correspondence" and "Address Only" and in stamp area in a square "Kodak Australia" twice. Handwritten on the card is "With Best Wishes for a Happy New Year to all Rostella / W. Lovett". Images .1 - shows postcard, .2 - close up, of No. 19, note Inspector along side tram, the stance of the motorman/driver, and conductor on the rear platform of the tram. Appears to have a destination of "Gardens ?" .3 - rear of postcard Handwritten letter on card.trams, tramways, esco, sturt st, postcards, armstrong st -
Eltham District Historical Society Inc
Photograph, Ron Grant, The Eltham Peace Group hanging the Hiroshima Day Banner on the Community Notice Board, Arthur Street, Eltham; Community Arts 1986 'As We Are' Banner Project Group, Hiroshima Day, 6 August 1986
Arthur Street, Eltham next to ANZ Bank The Hiroshima Day Banner was made by Jacky Talbot as part of the project. The women wanted to do something for Hiroshima Day and suggested that a workshop be set aside to make a banner. The artist was concerned about the remaining time scheduled for the project and spent several days "whipping" up the banner herself. For the artist this banner was to prove quite significant. The women hung it at the Community Notice Board on Hiroshima Day and were photographed by the local newspaper publicising the group and drawing wider community attention to the remembrance of the day. Although no new members joined the group from this activity, the artist felt that she was more fully accepted by the group afterwards. This banner has initiated a small group of women committed to peace. The artist has also continued to liaise and meet with the women as time permits. Future group plans include: making kimonos to wear when carrying the banner, participating in the Palm Sunday March, an observance of Hiroshima Day activity, which is yet to be decided, establishing contact with a sister-town in USA and USSR and supporting Eltham Council's stance as a Nuclear Free Zone. (The banner habits of the Eltham tribes : Eltham Shire "as we are" Community Banner Project report / by Jacky Talbot, Shire of Eltham, Feb. 1987, p46) Used in Shire of Eltham display at the Eltham Community Festival, 7 November 1987. Shire of Eltham Engineering Department Providing the resources to undertake • Survey, design, consultation • Road construction and maintenance • Bridge construction and maintenance • Street sweeping • Drain and pit cleaning • Traffic engineering installation and maintenance • Garbage collection • Tip management, land reclamation and beautification • Maintenance of community buildings • Provision of community and recreation facilitiesIllustrative of services provided by former Shire of ElthamColour photograph 20 x 29 cm mounted on green-painted chipboard 28 x 35.5 cm (string on back for hanging) Ref: 01842-0Title printed on label adhered to board below photograph (replaced June 2017)display panel, eltham festival, eltham peace banner, hiroshima day banner, infrastructure, shire of eltham, laurel eckersall, anne laurence, betty johnson, joan maclagan -
Coal Creek Community Park & Museum
Soap, TI-TROL ANTISEPTIC AND GERMICIDAL TOILET SOAP, c. 1928-1968
TROVE : Evening News (Sydney, NSW : 1869 - 1931), Thursday 11 October 1928, page 13. NEW COMPANIES The following new companies were registered this afternoon :- Australian Essential Oils Ltd : Nominal capital. £50,000, in 93.000 ordinary and 7,000 deferred shares at 10/-. to engage in business of distillers, manufacturers of, and dealers in oils from vegetables and other sub-stances, chemists etc. First directors: N. H.B.Keynor, R.K.Allport, E.M Humphries, and H. James. Head office Sydney. TROVE : Government Gazette of the State of New South Wales (Sydney, NSW : 1901 - 2001), Friday 26 July 1968 (No.89), page 3028 IN the matter of the Companies Act, 1961-1966, and in the matter of AUSTRALIAN ESSENTIAL OILS LTD (Receiver and Manager Appointed).—Roy Leslie Pegler, Receiver and Manager of Australian Essential Oils Ltd (Receiver and Manager Appointed)„ appointed by debenture holders on the 11 th July, 1966, hereby gives notice that any debenture holders and others having any claim against or to Australian Essential Oils Ltd (Receiver and Manager Appointed) are required to send particulars of their debenture or claim to the Receiver, Roy Leslie Pegler, at c.o. Messrs Pegler, Ellis & Co., Chartered Accountants, 235-7 Elizabeth Street, Sydney, N.S.W., on or before the 27th September, 1968, at the expiration of which time the Receiver and Manager will distribute the assets of the said Company to the persons and/or companies entitled, having regard only to the claims of which he then has notice.—Dated 24th July, 1968. PEGLER, ELLIS & CO., Chartered Accountants, 235-7 Elizabeth Street, Sydney, N.S.W. 8744—$5 White cardboard box printed in dark green with a round blue and white sticker on one side, containing a cream paper leaflet printed in dark green, wrapped around a greaseproof paper wrapped rectangular cake of translucent brown soap with impressed text on one side.Impressed on one side of the cake of soap ' A PRODUCT OF AUSTRALIAN ESSENTIAL OILS LTD SYDNEY'. On reverse of soap impressed 'TI-TROL ANTISEPTIC TOU\ILET SOAP'. Printed on the box 'TI-TROL ANTISEPTIC AND GERMICIDAL TOILET SOAP. Printed Leaflet wrapped around cake of soap 'Germicide TI-TROL Antiseptic, Toilet Soap ELEVEN TIMES MORE POWERFUL THAN CARBOLIC. NON IRRITANT ………NON POISONOUS. “Ti –Trol” GERMICIDAL ANTISEPTIC SOAP is the most modern of all toilet soap …..Distilled and manufactured by Australian Essential Oils Ltd., the pioneers of Tea-Tree Oil Industry in Australia, and manufacturers of that famous antiseptic solution Melasol. It has taken years of patient research, of test, trial and experiment to reach the pinnacle of perfection which Ti-Trol Soap is now offering to the public. Ti-Trol is a hand-made glycerine base soap in which only the finest ingredients are used. One of its most attractive features is that it contains a full three per cent. of “Ti-trol”. In medical and clinical practice, both in Australia and abroad, Ti Trol has given remarkable results…particularly in its cleansing properties: its soothing HEALING action on dirty and inflamed septic wounds. By incorporating Ti-Trol in a glycerine base soap, experts are agreed that the result….. Ti-Trol soap is unequalled-anywhere- for its soft soothing healing and germicidal properties. Ti-Trol soap is non-irritant and non-poisonous and can be used on the tenderest skins…babies’ or the most delicate peach-bloom complexions, with most excellent results. . PRODUCT OF A SOAP MAKER OF INTERNATIONAL EXPERIENCE Australian Essential Oils Ltd., have been fortunate in procuring the services of a soap-maker of International experience and world-wide knowledge of Soap Production, whose genius has produced Ti-Trol, and whose uncanny sense of blending has made Ti-Trol the most famous of all Germicidal Toilet Soaps. Ti-Trol is non-irritant and non-poisonous and has been proved by medical and specialised authorities top\ possess great healing and cleansing properties. It is a powerful Germicide and antiseptic….ELEVEN TIMES QUICKER THAN PURE CARBOLIC. . DANDRUFF CAN’T LIVE WITH Ti-Trol. Dandruff ......that horrible “give away” which many men and women suffer from…..can easily be dispelled by using Ti-Trol Soap this way : Rub a little Olive Oil into the scalp before retiring at night, and the following morning wash your head thoroughly with Ti-Trol Soap, allowing the lather to remain on the scalp for about a minute and a half. Then rinse the hair thoroughly in warm water. .WASH BRUSHES AND COMBS WITH Ti-Trol SOAP When you’ve done this and dried your hair, wash all your brushes and combs in a strong, soapy solution made with Ti-Trol Soap, and then carefully sponge the inside of the hat bands with a flannel or cloth moistened with this soapy solution. Follow these directions and you’ll never need to fear dandruff. .Ti-Trol…WONDERFUL HEALER OF CUTS. SORES, WOUNDS, ETC. There never was a more patent healer of CUTS, SORES, WOUNDS, ABRASIONS AND SEPTIC SORES than Ti-Trol… Here’s how to use it : Wash the affected parts with a fairly strong Ti-Trol soapy solution made with warm water, and then apply with lint soaked with Melasol, which is the miscible form of Ti-Trol (Melasol is obtainable at all chemists and stores everywhere). . Ti-Trol SOAP……..A DEODORANT, A BEAUTIFIER……a safeguard for tender skins Ti-Trol Soap, because of its delicate, pungent, aroma and antiseptic properties, is unequalled as a deodorant, and is never failing when used for this purpose. Ti-Trol Soap can be used on the tenderest skins, and even baby’s skin, with greatest safety. It’s delightful fragrance will give added pleasure to your toilet. . DO NOT WASTE Ti-Trol Soap is too valuable to waste. Therefore, use it carefully. Do not leave it in the water. To obtain greatest economy it is preferable to use a face cloth when using Ti-Trol Soap. For health, for the most economical means of insuring against disease, use Ti-Trol Ointment…..for cuts, bruises etc. Ti-Trol….for boils, cuts, sores, abrasions and septic conditions. MELASOL…..for Tinea, Mouth Wash and as a Dentifice. . All are products containing Ti-Trol, distilled and provided by Australian Essential Oils Ltd. 18 Loftus Street, Sydney. N.S.W.'. tea tree oil, soap, glycerine, antisptic, germicide -
Ballarat Heritage Services
Photograph - Colour, Pikeman's Dog Statue by Charles Smith and Joan Walsh-Smith, 21/05/2017
A sculpture unveiled on December 3rd 1999, the Anniversary of the Eureka Stockade Rebellion, in Ballarat, Victoria commemorates the Pikeman's Dog . The centerpiece of the sculpture is the bronze Irish Terrier. His stance, is a direct expression of his forlorn anguish, as he sits at the base of a symbolic bronze Pike, his head turned towards the place where once his master stood. The Pikeman's Dog statue was relocated from inside the Eureka Centre to a more prominent position within the Eureka Stockade Memorial Park. The new memorial was unveiled at a ceremony on December 3, 2014 - the 160th anniversary of the Eureka Stockade. The new memorial consists of 22 large golden stockade posts – representing the number of diggers killed in battle – erected in a triangle behind the statue of Wee Jock, on high ground outside the Museum of Australian Democracy at Eureka. The triangular shape of the monument is metaphorically symbolic. The V shape can be interpreted as symbolising victory, and the 22 golden posts represent the 22 diggers who were killed. The Pikeman`s Dog (known as Wee Jock), a little terrier, showed great devotion and bravery at the death of his master at the Eureka Stockade on 3 December 1854. As a result of the attack on the miners by Crown forces, five British soldiers and some thirty miners died. Among the miners lay a Pikeman, mortally wounded with some 15 wounds. Guarding his body throughout the hours it lay unclaimed at the battlefield, and later accompanying it on the death cart as the remaining bodies were transferred to the cemetery, was this small dog. According to reports the dog howled continuously and could not be separated from his master. The dog was awarded the RSPCA`s Purple Cross which Honours exceptional behaviour in serving humans in 1997.Colour photographs of the Pikeman's Dog statue in the Eureka Stockade Memorial Gardens. pikeman's dog, eureka stockade, statue, charles smith, joan walsh-smith -
The Beechworth Burke Museum
Photograph, Walter William McLean Thwaites, c.1870
This photograph depicts a large group of men in their work clothing situated in front of a large bank of earth. They are identified as miners working in an unidentified location in Australia. This photograph was taken by photographer Walter Thwaites sometime during the period of 1865-1908, likely c.1870. It is unsure where this image was taken since Thwaites travelled a lot over his photography career and the photograph is not annotated with this information. In addition, the identities of the men in the photograph are also unknown. These men are photographed in front of a large bank of earth where they had presumably been mining for gold or other precious metals. The men, with the exception of four, are wearing wide brimmed hats to protect their faces from the sun. They are also wearing loose fitting white shirts which are often worn beneath a darker coloured vest. They wear pale coloured work pants and boots. The men are mostly clean shaven with the exception of the moustache and a couple of beards. Two of the men have pipes in their mouth. Their clothing is basic and much less dramatic than the outfits worn by the gold diggers of the 1852 gold rush. These men, by wearing similar outfits, are expressing a sense of comradery or equality between them. It is likely that they are from the same, or similar, social status. They have an air of independence and share social equality in their stance and clothing. Walter William McLean Thwaites (1840-1908) was a professional photographer born in Sydney, Australia. He learnt the craft in his father's Hobart studio, but later embarked on his own solo career and toured every existing Australian colony between 1860 to 1888. The Thwaites family were a long line of photographers and artists with Thwaites' father Walter WIlliam Thwaites Sr working as an artist and photographer in Australia after moving from England in 1834. Walter Thwaites Sr's father, also named Walter Thwaites, was a British miniature portrait artist.Images, like this one, of Australian gold rush history can reveal important information about the social and environmental impact of this period. This image depicts over 30 diggers standing in front of a bank of earth and therefore, this image has the capacity to reveal or support significant information for researchers studying the fashion and social status of diggers in Australia in approximately 1870. It can also provide information on the landscape of Australia in this period and the impact of mining for gold on both society and the Australian landscape. The Burke Museum is home to a substantial collection of Australian mining photographs which can be used to gain a deeper understanding into life on the gold fields, technology used in mining, the miners themselves and the impact of the gold digging on the environment.Sepia toned rectangular photograph printed on matte photographic paper and mounted on board.Reverse: 1997.208 / MINERS. / W. Thwaites / Photography /australia, australian photography, photography, miners, gold rush, australian landscape, diggers, walter thwaites, thwaites photography, w. thwaites photography, social history -
Melbourne Legacy
Document - Speech, 24th Battalion (Gallipoli). Address by Frank Doolan (H27), 1970
A copy of an address given to a Legacy luncheon by Legatee Frank Doolan. He speaks of the 24th Battalion and their role at Gallipoli and in France. The story of the withdrawal from Gallipoli is interesting. Legatees Savige and HC Brinsmead were two of the three last lieutenants on the peninsula. Both were foundation members as was John Anderson who was also mentioned. He digresses to relate a story of an evening when he was with a 'VC mate' (assumed to be L/ Donovan Joynt) and they decided to speak to the editor of the Argus, Allan Spowers, about the newspaper's stance against the building of the Shrine of Remembrance. He related the paper published an article two days later in favour of the Shrine project and shortly after so did 'The Age'. The address also relates the return to war in 1939 and the formation of the 2/24th and it fighting in Tobruk. It was absorbed into the 9th division and later a new 2/24th was formed to wear the 'Red and White Diamond'. 'This unit consisted of younger men who had served with the CNF between the wars and included several sons of Legatees and several Junior Legatees. Our President Don, was attached for a short time.' (referring to L/ Don Simonson who was president in 1970). It went on to fight in New Guinea. Legatee Doolan's aim had been to link the 24th battalion with Legacy and suggests the book about the history of the 24th Battalion by Bob Serle was worth reading. He then introduced two other speakers, Squadron Leader Hicks, Conductor of the Royal Australian Air Force Band and Mr John Anderson of AWA. From the speakers record this event was in June 1970. The notation H27 in red pen shows that it was part of the archive project that was trying to capture the history of Legacy. Legatee Frank Doolan was part of the archive project around the 1970s.A significant account of the withdrawal from Gallipoli and other experiences of the 24th Battalion retold at a Legacy luncheon. Speakers at Legacy luncheons were from very different walks of life and the subjects spoken on were many and varied. White foolscap paper with black type x 5 pages of a speech by Legatee Frank Doolan.Handwritten H27 in red pen.history, battalion, speakers, speech, gallipoli, frank doolan, 24th battalion -
Eltham District Historical Society Inc
Photograph, "As we are" Community Banner Project, c.Oct. 1986
River of Life and Hiroshima Day Banners The River of Life and Hiroshima Day banners were specific peace projects initiated by the CAO and taken up by Eltham Living & Learning Centre and funded by the Victorian Peace Secretariat for IYP. The project was transferred from the Centre to Tracey as part of her artist in the community portfolio. Tracey, as CAO, employed Jacky Talbot, who was not familiar with Eltham but was an experienced community arts worker personally interested in textiles and peace. The project was publicised and a peace banner group formed. Only two of the women knew each other. They had come together from a need to do something for peace, rather than to learn about textiles. Jacky Talbot shared Elizabeth Savage's approach to the banner. She was not 'a peace-expert' and did not want to be seen as such by the group. Like Elizabeth Savage she wanted to encourage an expression of peace as it was perceived by the group. Jacky showed slides of peace images and peace banners. Textile workshops were interspersed with discussions about peace, one of which was led by a local People for Nuclear Disarmament member. The idea for the banner occurred during one of these discussions. One of the women began to talk about feeling like a drop of water lost in the river of life - yet rivers were made of countless droplets which, when joined together, became the powerful force of the river. This group quickly established a commitment, not only to peace, but to the group itself, and this has continued beyond the project. The women, as is the case with many of the groups in the Banner Project, were really surprised at their increasing textile skills and self-confidence. But they were more concerned with their commitment to peace. Each is continuing to find ways in which she can continue to work for peace, and activities are undertaken on a group basis as well. The decision to participate in the group based activities is up to each woman as the time arises. The banner and some members of the group have now participated in the Peace Boogie at the World Trade Centre, the Peace Arts Conference organised by Art Action for Peace, Melbourne City Council's Peace Vigil weekend, Women's Precious Things for Peace Day exhibition and the banner was ' hung at the Footscray Community Arts Centre when the other textile peace mural Jacky co-ordinated was opened. One woman wrote a poem about the project and peace; others have sent telegrams and letters to politicians about peace. A great deal of information about peace and other activities, articles, books, media programs were circulated amongst the group. The Hiroshima Day Banner was made by Jacky Talbot as part of the project. The women wanted to do something for Hiroshima Day and suggested that a workshop be set aside to make a banner. The artist was concerned about the remaining time scheduled for the project and spent several days "whipping" up the banner herself. For the artist this banner was to prove quite significant. The women hung it at the Community Notice Board on Hiroshima Day and were photographed by the local newspaper publicising the group and drawing wider community attention to the remembrance of the day. Although no new members joined the group from this activity, the artist felt that she was more fully accepted by the group afterwards. This banner has initiated a small group of women committed to peace. The artist has also continued to liaise and meet with the women as time permits. Future group plans include: making kimonos to wear when carrying the banner, participating in the Palm Sunday March, an observance of Hiroshima Day activity, which is yet to be decided, establishing contact with a sister-town in USA and USSR and supporting Eltham Council's stance as a Nuclear Free Zone. (Source: The banner habits of the Eltham tribes : Eltham Shire "as we are" Community Banner Project report / by Jacky Talbot, Shire of Eltham, Feb. 1987, pp43-46)35mm colour positive transparency (1 of 2) Mount - Kodak KodachromeProcess Date OCT 86Mbanner project, community banner project, tracey naughton, eltham living and learning centre, eltham peace banner, jacky talbot, river of life banner -
Eltham District Historical Society Inc
Photograph, "As we are" Community Banner Project, c.Oct. 1986
River of Life and Hiroshima Day Banners The River of Life and Hiroshima Day banners were specific peace projects initiated by the CAO and taken up by Eltham Living & Learning Centre and funded by the Victorian Peace Secretariat for IYP. The project was transferred from the Centre to Tracey as part of her artist in the community portfolio. Tracey, as CAO, employed Jacky Talbot, who was not familiar with Eltham but was an experienced community arts worker personally interested in textiles and peace. The project was publicised and a peace banner group formed. Only two of the women knew each other. They had come together from a need to do something for peace, rather than to learn about textiles. Jacky Talbot shared Elizabeth Savage's approach to the banner. She was not 'a peace-expert' and did not want to be seen as such by the group. Like Elizabeth Savage she wanted to encourage an expression of peace as it was perceived by the group. Jacky showed slides of peace images and peace banners. Textile workshops were interspersed with discussions about peace, one of which was led by a local People for Nuclear Disarmament member. The idea for the banner occurred during one of these discussions. One of the women began to talk about feeling like a drop of water lost in the river of life - yet rivers were made of countless droplets which, when joined together, became the powerful force of the river. This group quickly established a commitment, not only to peace, but to the group itself, and this has continued beyond the project. The women, as is the case with many of the groups in the Banner Project, were really surprised at their increasing textile skills and self-confidence. But they were more concerned with their commitment to peace. Each is continuing to find ways in which she can continue to work for peace, and activities are undertaken on a group basis as well. The decision to participate in the group based activities is up to each woman as the time arises. The banner and some members of the group have now participated in the Peace Boogie at the World Trade Centre, the Peace Arts Conference organised by Art Action for Peace, Melbourne City Council's Peace Vigil weekend, Women's Precious Things for Peace Day exhibition and the banner was ' hung at the Footscray Community Arts Centre when the other textile peace mural Jacky co-ordinated was opened. One woman wrote a poem about the project and peace; others have sent telegrams and letters to politicians about peace. A great deal of information about peace and other activities, articles, books, media programs were circulated amongst the group. The Hiroshima Day Banner was made by Jacky Talbot as part of the project. The women wanted to do something for Hiroshima Day and suggested that a workshop be set aside to make a banner. The artist was concerned about the remaining time scheduled for the project and spent several days "whipping" up the banner herself. For the artist this banner was to prove quite significant. The women hung it at the Community Notice Board on Hiroshima Day and were photographed by the local newspaper publicising the group and drawing wider community attention to the remembrance of the day. Although no new members joined the group from this activity, the artist felt that she was more fully accepted by the group afterwards. This banner has initiated a small group of women committed to peace. The artist has also continued to liaise and meet with the women as time permits. Future group plans include: making kimonos to wear when carrying the banner, participating in the Palm Sunday March, an observance of Hiroshima Day activity, which is yet to be decided, establishing contact with a sister-town in USA and USSR and supporting Eltham Council's stance as a Nuclear Free Zone. (Source: The banner habits of the Eltham tribes : Eltham Shire "as we are" Community Banner Project report / by Jacky Talbot, Shire of Eltham, Feb. 1987, pp43-46)35mm colour positive transparency Mount - Black and Whitebanner project, community banner project, tracey naughton, eltham living and learning centre, eltham peace banner, jacky talbot, river of life banner -
Kew Historical Society Inc
Postcard, R McGeehan, The Effect of Storm. Train Passing Through Flood Waters, South Yarra, 25-1-07, 1907
SHARP DOWNPOUR. ONE INCH IN 45 MINUTES. SOUTHERN SUBURBS DELUGED. TRAIN STOPPED AT SOUTH YARRA. One of the sudden downpours of rain which occasionally fall in Melbourne occurred yesterday afternoon, when nearly an inch of rain fell in the course of three quarters of an hour, and caused a flood for an hour or two in certain localities. During the early part of the day, the sky had been clouded over, but there was nothing to indicate a storm of such intensity as that which followed. At about half-past 1 o'clock residents of South Yarra, South Melbourne, Prahran, and St. Kilda noticed a few drops of rain. Still, it appeared unlikely that there would be anything exceptional, until with startling suddenness at about 10 minutes to 1 o'clock, one of the heaviest downpours within the memory of residents burst upon those suburbs. A strange feature of the storm was that it was practically confined to an area of about three miles square. The city was but little affected, though at a spot as close as the Observatory 86 points of rain were recorded in three-quarters of an hour. Thunder and lightning accompanied the downpour, which was cyclonic in character, the rain driving heavily from all points of the compass as the cyclone passed. It was in South Yarra and Prahran that the rain fell heaviest. Within a few minutes after it commenced, the low-lying portions of Toorak-road and practically the whole length of Chapel-street were under water. The depression at the intersection of Toorak-road and Darling-street speedily filled to the dimensions of a small lake. Several shops were inundated, while the water from the higher levels rushed down like a mountain torrent, and in several in-stances swept through the rear of houses and shops, carrying furniture in a floating mass against the further walls. In one case a footbridge was carried bodily away and dashed to pieces. Darling-street itself Great Davis-street, and other low-lying and flat thoroughfares in the vicinity became flooded from kerb to kerb, while on the other side of the railway-bridge the valley between Kensington-road and River-street became filled for some minutes to a depth of several feet. Meanwhile the waters from South Yarra hill, seeking a lower level, found it in the railway cutting, and the excavations from South Yarra station to Prahran on the one line, and to the Chapel-street bridge on the other, were converted into a couple of canals. At the platforms at South Yarra the water was two feet deep on the permanent way, and towards Hawksburn, at the sudden depression under Chapel-street bridge, it was at one time deep enough to cover a tall man's head. Into this swirling mass of water the 1:50 p.m. train from Oakleigh plunged on its way to Melbourne. The impact caused a mighty fountain of water to rise to a height of about 20 feet above the level of Chapel-street and send clouds of spray in all directions. Under the belief that a terrible explosion had occurred residents braved the rain and rushed to the spot, only to find that the train had been brought to a stand-still in the middle of what seemed to be a river. The water was so high that it had entered the fire-box from below, extinguishing the fires and cutting off the steam supply. In the meantime the officials at the South Yarra station had been preparing for emergencies. Inspectors were on duty at intervals along the line, and the moment the alarm was given an extra engine was backed carefully down and continued on to connect with the stranded train without losing its own power. There was a delay of about ten minutes in the service for an hour or two, but by 5 o'clock all the trains were running on time again, and the water had run off all but the spot beneath the Chapel-street bridge. Here the water remained about four feet deep until nightfall, and throughout the afternoon several hundreds of people including biograph operators and photographers, were gathered around watching each train pass through. Even with the water two feet lower, this was a work attended with considerable difficulty. Each train had to absolutely force its way through the weight of water, almost enveloped by the spray thrown up, and it was only just able to negotiate the "ford" by using every ounce of steam. ... The Argus, 26 January 1907, p19.The item forms part of the Laurie Bennett collection of thirty-six postcards and photographs of Kew and early Melbourne, donated to the Kew Historical Society in 1980. The postcards in the Bennett collection, like other images in the Society's holdings date from the 1890s to the present and comprehensively indicate points-of-view or scenes considered historically, aesthetically or socially significant in the period in which they were produced.Postcard depicting a flood at South Yarra Station in 1907. The title and photographer's name are identified on the front of the postcard. Donated by L. Bennett, 1980flood - south yarra, trains - melbourne, postcards, r mcgeehan - prahran -
Greensborough Historical Society
Newspaper Clipping, Diamond Valley Leader, Uni's golf stance slammed, 16/08/2017
La Trobe University has come under fire for a "smoke-screen" consultation over the future of Strathallan Golf CourseNews article 1 page, black text.la trobe university, strathallan golf course, darebin council -
Unions Ballarat
Is it safe? Dead workers don't work, 1990s?
This is an OH&S manual targeted at construction industry workers. Includes issues such as asbestos, chemicals and use of tools. This is the third edition of the manual. The most recent copy of the manual is available from the CFMEU.Relevance to workplace health and safety and trade unions' stance on pertinent issues.Paperback book. Front cover: black background; green, white and red lettering.btlc, ballarat trades regional trades and labour council, ballarat trades hall, oh&s, workplace safety, construction industry, asbestos -
Glen Eira Historical Society
Document - Glenhuntly Road, Elsternwick
Three three page extracts from Andrew Ward’s 1994 Caulfield Conservation Study on commercial buildings in Glen Huntly Road, Elsternwick. The three studies concern Moore’s Buildings 1891 shops at 305-313 Glen Huntly Road, shops at 323-329 Glen Huntly Road and E J Buckeridge’s Buildings 1911 shops at 357-371 Glen Huntly Road. The studies describe the buildings’ architectural features, provide a historical overview and statements of the buildings’ significance, especially in relation to the Land Boom and commercial development between 1890 to the 19020s. All three studies include a black and white photograph (109mm x 152mm; 114mm x 150mm; 110mm x 151mm) of the shop fronts.glen huntly road, moore’s buildings 1891, italianate style, architectural styles, architectural features, verandahs, elsternwick, moore hugh, selwyn street, st georges road, glenmoore, glenmoore estate, corkill french and pugh, jamieson w w, thompson a g, eddy henrietta, valey frank, allen thomas, saddlers, dairy products, green w i, undertakers, delany edward, drapers, herbenstreit huldreich, butcher shops, sincock john, plumbers, allen t, greengrocers, coppel george, painters, dickinson f h, dickinson v, johnson thomas, cole constance, hairdressers, ortner frank, drycleaners, gaffney elodie, ward andrew, long mr, robinson mr, le page mr, byers robert, carter mary, millar c, smythe f c, crook thomas, stancy h, crook’s national stores pty ltd, e j buckeridge’s buildings 1911, kelly walter, staniland grove, buckeridge edward, hannon john, kellett frances, beck miss, armstrong miss, tuck mary, milliners, doherty john, adams herbert, bakeries, perry robert, picture framers, adams clifford, arches, windows, shops, land subdivision, retail trade, property developers, advertising signs