The Percy Uebergang family lived at Tooram Park, Allansford from 1912 until 1992. Percy and Myrtle Uebergang's children were twins, Ray and Joyce born in 1926 who lived at Tooram Park until their deaths, Ray in 1986 and Joyce in 1992. Neither Ray nor Joyce married and following the death of her brother Joyce set up the Ray and Joyce Uebergang Foundation which supports the local community. This advertising mobile is part of the collection of items given into the care of the Cheese World Museum. The van Nooten family purchased the neighbouring property Tooram from the Neale family. Honey bee printed on card and mounted in a blue painted metal holder. On the front the bee is striped black and orange with 2 large wings and 1 small wing in white with black line detail. On the back is advertising material for Barnes honey -text and a drawing of a bee with wings folded. The metal stand has a loop at either end. The loop on one end has a piece of string tied through it to hang up the bee mobile.BARNES/28 FIRST PRIZES/PURE HONEY/Awarded GRAND PRIX. Franco-British Exhibition/HONEY/HOMELL/WHOLEMEAL FLOUR/SELF-RAISING/For SCONES, BISCUITS and BREAD/FRU-ITY FLAKES/For PORRIDGE/SUNLIT/CREAM HONEY/W.J. & F. BARNES Pty Ltd/550 SWAN ST.,/BURNLEY, (printed) JANET/VAN/NOOTEN (child's handwriting in pencil)allansford, advertising material, barnes honey, bees, honey, uebergang, van nooten, tooram

Edith CURNOW (1913–2003) Ballarat | Australia Edith Gertrude Curnow undertook Industrial Art teacher training at the Ballarat Technical Art School, with a five-year Senior Technical Scholarship, between 1926 and 1931. She taught for a time before marrying compositor James Lawn in 1937. She reportedly continued to teach at the Ballarat Technical Art School as Edith Lawn. She retired in 1972 at which time she was the Lecturer in Charge of Craft Edith Lawn was a member of inaugural Ballarat School of Mines Old Girls Association, and served as first Press Correspondent. Her daughter, Valda Lawn (later D'Angri) also attended and taught at the School. One of the subjects Curnow studied was Historic Ornament. This subject spanned time and space to inform and inspire designers. Students studied the influences of history, geography, culture and climate on ornamental aesthetics, including the tools, materials and methods applied to decorative objects, interior design and architecture.Two books containing student notes and drawing relating to courses at the Ballarat techncial Art School in 1931. The work was undertaken by Edith Curnow. .1) - Foolscap red covered book on Historic Ornament. Includes History of Ornament, Egyptian Ornament, Assyrian Ornament; Greek Ornament, Roman Ornament, Pompeian Ornament, Byzantine, Romanesque Ornament, Norman, Decorated Gothic, Perpendicular Gothic, Renaissance. .2) Green quarto book on Historic Ornament Part 2: Costume. The work includes Egyptian Costume, Greek Costume, Roman Costume, Richard I, Crusades, Edward III, Charles I, Charles II, George II.ballarat school of mines, ballarat technical art school, art history, edith lawn, edith curnow, val lawn, val d'angri, curnow, lawn, ornament, costume., ballarat technical art school library, artists workbook, journal, historic ornament, university women, ballarat school of mines old girls association

George Milford, a long term staff member of Thompsons Foundry Castlemaine, remembers discussing Alexander Sinclair with this son, Alex Sinclair Jnr. "When Alex Jnr was a boy, his father, a senior design engineer, was sent to Malaya to oversee the erection on site of a suction cutter dredge for Thompsons. This was an adaptation of the idea of a bucket-dredge, where gold is won from alluvial gravels. In the 1915-1920 era, the Thompsons Engineering Department designed a suction-cutter dredge, by which hydraulic suction with a revolving cutter at the end of a long proboscis would collect the alluvial soil and deliver it into the dredge for recovery of the precious metals. Export marketing was then ‘all the go’, and the tin dredges were ordered from Thompsons, using the new cutter design. The dredges were, of course, shipped to Malaya in pieces, ready to be assembled on site. A number of Thompsons employees were selected to travel to Malaya to assemble the dredges. There were fourteen men in the gang. These men sailed on 1st July 1925, their number including Delmenico, McKay and Charles Albert Hauser, an engine driver. C A Hauser died of malaria in Malaya shortly after arrival. Components for a further three of these dredges were in transit or on site when the first suction-cutter dredge was assembled and tested. The designers had failed to take into account the fact that, in the jungle floor in Malaya, many trees grow up, and fall down, in tropical conditions, and become submerged still waterlogged in the floor of the jungle, and in the tin-bearing gravels. The suction-cutter dredge was found to be inefficient in these circumstances, the price of tin had fallen and the Malayan client reneged on the contract. Faced with an outlay of over £4,000 on which no money would be received, the company went bankrupt on 25th August 1925. Alex Sinclair Snr was at that stage in Malaya, and received the news of the bankruptcy by telegram. Upon telegraphing his employers for funds to return home, he received the reply that there were no such funds available. Alex Sinclair Jnr told the story of how his father worked as a labourer in Malaya for two years, while his mother took in washing and ironing during the same period, until together they had assembled enough money to pay for his father’s return Anyone who talks about “the good old days” is talking nonsense!"Large blue printed paper plan outlining the conditions of contract for the making of a steel boiler. The Blueprint includes design drawings and written contract specifying materials, time frame and costs. Signed on front 'Alec Sinclair Consulting Engineer, 31 Queen Street, Melbourne'. Stamped on verso 'Printed by Paterson & Co, Colonial Mutual Chambers, Collins St, Melbourne'. blueprint, designs and plans, yarrawee suction dredge, conditions of contract, thompsons foundry castlemaine, george milford

This tin of pastels contains the pastels most likely used by Dr Angus in creating his pastel drawing in 1932, which is on display in the in Flagstaff Hill's Port Medical Office. The tin of pastels was donated to Flagstaff Hill Maritime Village by the family of Doctor William Roy Angus, Surgeon and Oculist. It is part of the “W.R. Angus Collection” that includes historical medical equipment, surgical instruments and material once belonging to Dr Edward Ryan and Dr Thomas Francis Ryan, (both of Nhill, Victoria) as well as Dr Angus’ own belongings. The Collection’s history spans the medical practices of the two Doctors Ryan, from 1885-1926 plus that of Dr Angus, up until 1969. ABOUT THE “W.R.ANGUS COLLECTION” Doctor William Roy Angus M.B., B.S., Adel., 1923, F.R.C.S. Edin.,1928 (also known as Dr Roy Angus) was born in Murrumbeena, Victoria in 1901 and lived until 1970. He qualified as a doctor in 1923 at University of Adelaide, was Resident Medical Officer at the Royal Adelaide Hospital in 1924 and for a period was house surgeon to Sir (then Mr.) Henry Simpson Newland. Dr Angus was briefly an Assistant to Dr Riddell of Kapunda, then commenced private practice at Curramulka, Yorke Peninsula, SA, where he was physician, surgeon and chemist. In 1926, he was appointed as new Medical Assistant to Dr Thomas Francis Ryan (T.F. Ryan, or Tom), in Nhill, Victoria, where his experiences included radiology and pharmacy. In 1927 he was Acting House Surgeon in Dr Tom Ryan’s absence. Dr Angus had become engaged to Gladys Forsyth and they decided he further his studies overseas in the UK in 1927. He studied at London University College Hospital and at Edinburgh Royal Infirmary and in 1928, was awarded FRCS (Fellow from the Royal College of Surgeons), Edinburgh. He worked his passage back to Australia as a Ship’s Surgeon on the on the Australian Commonwealth Line’s T.S.S. Largs Bay. Dr Angus married Gladys in 1929, in Ballarat. (They went on to have one son (Graham 1932, born in SA) and two daughters (Helen (died 12/07/1996) and Berenice (Berry), both born at Mira, Nhill ) According to Berry, her mother Gladys made a lot of their clothes. She was very talented and did some lovely embroidery including lingerie for her trousseau and beautifully handmade baby clothes. Dr Angus was a ‘flying doctor’ for the A.I.M. (Australian Inland Ministry) Aerial Medical Service in 1928 . Its first station was in the remote town of Oodnadatta, where Dr Angus was stationed. He was locum tenens there on North-South Railway at 21 Mile Camp. He took up this ‘flying doctor’ position in response to a call from Dr John Flynn; the organisation was later known as the Flying Doctor Service, then the Royal Flying Doctor Service. A lot of his work during this time involved dental surgery also. Between 1928-1932 he was surgeon at the Curramulka Hospital, Yorke Peninsula, South Australia. In 1933 Dr Angus returned to Nhill and purchased a share of the Nelson Street practice and Mira hospital (a 2 bed ward at the Nelson Street Practice) from Dr Les Middleton one of the Middleton Brothers, the current owners of what previously once Dr Tom Ryan’s practice. Dr Tom and his brother had worked as surgeons included eye surgery. Dr Tom Ryan performed many of his operations in the Mira private hospital on his premises. He had been House Surgeon at the Nhill Hospital 1902-1926. Dr Tom Ryan had one of the only two pieces of radiology equipment in Victoria during his practicing years – The Royal Melbourne Hospital had the other one. Over the years Dr Tom Ryan had gradually set up what was effectively a training school for country general-practitioner-surgeons. Each patient was carefully examined, including using the X-ray machine, and any surgery was discussed and planned with Dr Ryan’s assistants several days in advance. Dr Angus gained experience in using the X-ray machine there during his time as assistant to Dr Ryan. When Dr Angus bought into the Nelson Street premises in Nhill he was also appointed as the Nhill Hospital’s Honorary House Surgeon 1933-1938. His practitioner’s plate from his Nhill surgery is now mounted on the doorway to the Port Medical Office at Flagstaff Hill Maritime Village, Warrnambool. When Dr Angus took up practice in the Dr Edward and Dr Tom Ryan’s old premises he obtained their extensive collection of historical medical equipment and materials spanning 1884-1926. A large part of this collection is now on display at the Port Medical Office at Flagstaff Hill Maritime Village in Warrnambool. In 1939 Dr Angus and his family moved to Warrnambool where he purchased “Birchwood,” the 1852 home and medical practice of Dr John Hunter Henderson, at 214 Koroit Street. (This property was sold in1965 to the State Government and is now the site of the Warrnambool Police Station. and an ALDI sore is on the land that was once their tennis court). The Angus family was able to afford gardeners, cooks and maids; their home was a popular place for visiting dignitaries to stay whilst visiting Warrnambool. Dr Angus had his own silk worm farm at home in a Mulberry tree. His young daughter used his centrifuge for spinning the silk. Dr Angus was appointed on a part-time basis as Port Medical Officer (Health Officer) in Warrnambool and held this position until the 1940’s when the government no longer required the service of a Port Medical Officer in Warrnambool; he was thus Warrnambool’s last serving Port Medical Officer. (Masters of immigrant ships arriving in port reported incidents of diseases, illness and death and the Port Medical Officer made a decision on whether the ship required Quarantine and for how long, in this way preventing contagious illness from spreading from new immigrants to the residents already in the colony.) Dr Angus was a member of the Australian Medical Association, for 35 years and surgeon at the Warrnambool Base Hospital 1939-1942, He served as a Surgeon Captain during WWII1942-45, in Ballarat, Victoria, and in Bonegilla, N.S.W., completing his service just before the end of the war due to suffering from a heart attack. During his convalescence he carved an intricate and ‘most artistic’ chess set from the material that dentures were made from. He then studied ophthalmology at the Royal Melbourne Eye and Ear Hospital and created cosmetically superior artificial eyes by pioneering using the intrascleral cartilage. Angus received accolades from the Ophthalmological Society of Australasia for this work. He returned to Warrnambool to commence practice as an ophthalmologist, pioneering in artificial eye improvements. He was Honorary Consultant Ophthalmologist to Warrnambool Base Hospital for 31 years. He made monthly visits to Portland as a visiting surgeon, to perform eye surgery. He represented the Victorian South-West subdivision of the Australian Medical Association as its secretary between 1949 and 1956 and as chairman from 1956 to 1958. In 1968 Dr Angus was elected member of Spain’s Barraquer Institute of Barcelona after his research work in Intrasclearal cartilage grafting, becoming one of the few Australian ophthalmologists to receive this honour, and in the following year presented his final paper on Living Intrasclearal Cartilage Implants at the Inaugural Meeting of the Australian College of Ophthalmologists in Melbourne In his personal life Dr Angus was a Presbyterian and treated Sunday as a Sabbath, a day of rest. He would visit 3 or 4 country patients on a Sunday, taking his children along ‘for the ride’ and to visit with him. Sunday evenings he would play the pianola and sing Scottish songs to his family. One of Dr Angus’ patients was Margaret MacKenzie, author of a book on local shipwrecks that she’d seen as an eye witness from the late 1880’s in Peterborough, Victoria. In the early 1950’s Dr Angus, painted a picture of a shipwreck for the cover jacket of Margaret’s book, Shipwrecks and More Shipwrecks. She was blind in later life and her daughter wrote the actual book for her. Dr Angus and his wife Gladys were very involved in Warrnambool’s society with a strong interest in civic affairs. He had an interest in people and the community They were both involved in the creation of Flagstaff Hill, including the layout of the gardens. After his death (28th March 1970) his family requested his practitioner’s plate, medical instruments and some personal belongings be displayed in the Port Medical Office surgery at Flagstaff Hill Maritime Village, and be called the “W. R. Angus Collection”. The W.R. Angus Collection is significant for still being located at the site it is connected with, Doctor Angus being the last Port Medical Officer in Warrnambool. The collection of medical instruments and other equipment is culturally significant, being an historical example of medicine from late 19th to mid-20th century. Dr Angus assisted Dr Tom Ryan, a pioneer in the use of X-rays and in ocular surgery. Tin of Reeves' Greyhound Pastels Flat tin with hinged lid, painted black with decorative gold embossed label and brand name and logos. Tin contains 34 pieces of pastel drawing sticks in a variety of colours, resting on a layer of corrugated cardboard. Tin has lost most of its gold coloured lining and the embossing on lid is rubbing off. Part of the W.R. Angus Collection. NOTE; W.R. Angus Collection includes a pastel drawing by Dr Angus in 1932Text on lid "REEVES' / GREYHOUND / PASTELS / MADE IN AUSTRALIA" and on each side are logos of greyhounds.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, dr w r angus, pastels, reeve's pastels, drawing pastels, artwork, pastel drawing by dr angus 1932, art materials

Dip pens emerged in the early 19th century, when they replaced quill pens. They were generally used prior to the development of fountain pens in the later 19th century, and are now mainly used in illustration, calligraphy, and comics. A nib pen usually consists of a metal nib with capillary channels like those of fountain pen nibs, mounted on a handle or holder, often made of wood. Other materials can be used for the holder, including bone, metal and plastic. Generally speaking, dip pens have no ink reservoir; therefore the user has to recharge the ink from an ink bowl or bottle in order to continue drawing or writing. Birmingham, England was home to many of the first dip pen manufacturers. John Mitchell pioneered mass production of steel pens in 1822; prior to that the quill pen had been the most common form of writing instrument. His brother William Mitchell later set up his own pen making business in St Paul's square. The Mitchell family is credited as being the first manufacturers to use machines to cut pen nibs, which greatly sped up the process. Germany 1842 began at the factory of Heintze & Blanckertz in Berlin By 1860 there were about 100 companies making steel nibs in Birmingham, but 12 large firms dominated the trade. Dip pens are rarely used now for regular writing, most commonly having been replaced by fountain pens, rollerball pens, or ballpoint pens. However, dip pens are still appreciated by artists, as they can make great differences between thick and thin lines, and generally write more smoothly than other types of pens. Dip pens are also preferred by calligraphers for fine writing. Richard Esterbrook was a Cornish Quaker from England who saw an opportunity in the United States to manufacture Steel Pens. In 1856 R.Esterbrook traveled to the US to set up shop as 'The Steel Pen Manufacturing Company' where Richard made these steel pens by hand using special tools and machines (mostly that Richard had to invent). In 1858 he was able to establish himself as the sole pen manufacturer in the USA and he changed the company name to 'The Esterbrook Steel Pen Mfg. Co.' The company settled down in Camden, New Jersey. Quality was a key factor in his success. His steel pens were versatile, long lasting, and came in many different styles to fit the varied writing styles of the public. Sadly, Richard Esterbrook didn't see the 'empire' his company was to become as he passed away in Atlanta on October 12th 1895 . in 1896 they started an Esterbrook branch in England to join the ranks of the other main pen manufactures in Birmingham . In 1912 the company had gotten so large that they erected a 5 story building, just to continue manufacturing pens. By 1920 the fountain pen was fast becoming more popular amongst people who were tired of 'dipping.' To meet this demand the company manufactured its first fountain pen. In 1930 the company sought less expensive means of manufacturing pens because gold and 'jewel' tips were too expensive and in this same year they began selling fountain pens in England . The Esterbrook Company began using the metal Iridium which they called 'Durachrome.' To meet the fountain pen demand the company reformed as 'The Esterbrook Hazel Pens Ltd.' In 1940 war had come to strike a blow at the Esterbrook company. On November 19th 1940 their England location was hit by an incendiary bomb destroying half of the location! To make matters worse, when putting out the fire using a human water bucket chain, someone accidentally grabbed a bucket of paraffin and set the place further ablaze. Oddly enough, the company was able to rebuild the structure during the war. However, the government had placed a stipulation that 50% of its capacity was to be used for government related purposes. In 1947 the company bought out John Mitchell and the American branch had already acquired Hazel Pen Co. The company re-formed again as 'The Esterbrook Pen Company.' This is the last company name the dip pen nibs were manufactured under. A box of Steel dipping nibs for writing pensOn Box; Photo of man / R. Esternbrook Co. / PENS / PROBATEsteel nibs, writing pens, education, schools, writing, caligraphy, artists, moorabbin, bentleigh, cheltenham, dip pens, inkwells, fountain pens, mitchell john, birmingham england, esternbrook richard, maple barbara

These plans are line drawings by the State of Victoria for a Suction Hopper Dredge, which used a suction pump to bring up material from the bottom of a body of water. The plans are contained in a box from the Public Works Department, Ports and Harbours Division in Melbourne, which in the year 1910 was responsible for the dredging operations of coastal ports and harbours, and inland waterways. The stamped signature is that of Arthur Edward Cutler, Chief Engineer, Public Works Department of New South Wales. The steel steamer Matthew Flinders was constructed by Morts Dock & Engineering Co Ltd in Sydney, New South Wales. Identified as Ship No. 40 by the ship builders, this dredge, had twin screw engines that were made in Sydney. Its gross tonnage was 1180. It was launched on July 15th, 1916, and registered by the owner, Department of Public Works in Victoria, at the Port of Melbourne in 1917. Unlike bucket dredges, the Matthew Flinders did not use permanent moorings but instead had bow and stern anchors. It travelled forward on the bow anchor, taking up a strip of even-depth wilt from the bed below. A local newspaper noted that the Matthew Flinders has many advantages that were especially useful for its work at Warrnambool. Warrnambool Harbour had been experiencing silting and sanding for many years. The problem continued even after the construction of the Breakwater in 1890, which was overseen by New Zealand engineer Arthur Dudley Dobson. Melbourne’s Department of Ports and Harbours sent the new Matthew Flinders to dredge the heavy silting in the Warrnambool Harbour in May 1919. This work was previously done by the smaller dredge, the Pioneer. However, after a month of work, the Matthew Flinders was returned to Melbourne for alterations to make it suitable for work in the heavy seas it experienced at Warrnambool. Both dredges were sent up from Melbourne when required over the years to periodically attend to the silting in the Harbour, but the Matthew Flinders was preferred because of its efficiency. It was still dredging the Harbour even in July 1938. The ship’s original master was J G Rosney. In 1923 the master in charge was Captain Dunbar. In 1930 the dredges were no longer required as the Harbour was no longer suitable as port.These plans are significant for their close association with the suction hopper dredge, the Matthew Flinders I, which was call upon often to remove the silting of Warrnambool Harbour and allow shipping to continue in the Port of Warrnambool until 1930, when the Port of Warrnambool ceased to be suitable as a port. The work done by the Matthew Flinders is significant for its association with the Warrnambool Breakwater and the on-going issues with the silting of the Harbour. Plans with line drawings for the suction hopper dredge Matthew Flinders, rolled, in open-top wooden box. Created for the Public Works Department, Melbourne, Victoria. Stamped with signature and dated November I, 1911. Inscriptions: label on box, handwriting on box, drawings and outer layer of paper. Freighted by 1 Star, New Zealand Express Cargo.Signature stamp “A E Cutler” Date stamp “NOV 8 – 1911” Printed on one page “STATE OF VICTORIA / SUCTION HOPPER DREDGE / GENERAL ARRANGEMENTS OF MAIN ENGINE ROOM / SCALE 1/2 IN = 1 FT.” Label on box "1 [star symbol] / THE NEW ZEALA- - - / EXPRESS CAR - –“ Handwritten on base “PUBLIC WORKS / DEPARTMENT / - - LBOURNE” Handwritten in pencil on cover paper “MATTHEW Flinders”flagstaff hill, warrnambool, maritime village, maritime museum, flagstaff hill maritime museum & village, shipwreck coast, great ocean road, plan, line drawing, dredge, pioneer, steel steam ship, twin screw engines, a e cutler, arthur edward cutler, chief engineer, public works department, new south wales, nsw, 1911, state of victoria, suction hopper, main engine room, public works melbourne, warrnambool harbour, lady bay, sanding, silting, breakwater, morts dock & engineering co ltd, j g rosney, captain dunbar, ship no. 40, matthew flinders i, matthew flinders, 1 star, new zealand express cargo

Wall calendar from 1938. Coloured drawing of a lady in red evening dress on a balcony overlooking a body of water titled ''the witching hour''. With compliments from Bendigo Timber coy. Corner Williamson and Mollison Streets, Bendigo. Phone 218. Buildings erected anywhere, building materials supplied.business, retail, bendigo timber company

book non-fictionCompiled by the Visual Arts Committee of Women150 to mark the 150th celebrations for the establishment of state of Victoria in 1985. Represents many established and emerging artists of the time.feminism, painting, printmaking, drawing, photography, textiles

non-fictionCollection in A-Z of technical terms used for artworks on paper.watercolour, printmaking, drawing, mary delany, beatrix potter

Index, ill, maps, p.312.non-fictionDrawing on a wealth of material from the Imperial War Museum Sound Archive, this book presents the words of both rescued and rescuers an intimate and dramatic account of what Winston Churchill described as a 'miracle of deliverance'.battle of dunkirk - 1940, world war 1939-1940 - personal narratives - britain

Index, ill, p.486.non-fictionDrawing material from the Imperial War Museum's extensive aural archive, Joshua Levine brings together voices from both sides of the Blitz and the Battle of Britain to give us a unique, complete and compelling picture of this turbulent time. We hear from the soldiers, airmen, fire-fighters, air-raid wardens and civilians, people in the air and on the ground, on both sides of the battle, giving us a thrilling account of Britain under siege. With first-hand testimonies from those involved in Dunkirk and the Battle of Britain, Black Saturday on 7th September 1940 when the Luftwaffe began the Blitz, to its climax on the 10th May 1941, this is the definitive oral history of a period when Britain came closer to being overwhelmed by the enemy than at any other time in modern history.battle of britain 1940 - personal narratives, the blitz

Index, bibliography, notes, ill, maps, p.580.non-fictionPeter FitzSimons, Australia's most beloved popular historian, focuses on one of the seminal moments in Australian history: the Battle of tobruk in 1941, in which more than 15 000 Australian troops - backed by British artillery - fought in excruciating desert heat through eight long months, against Adolf Hitler's formidable Afrika Korps. During the dark heart of World War II, when Hitler turned his attention to conquering North Africa, a distracted and far-fl ung Allied force could not give its all to the defence of Libya. So the job was left to the roughest, toughest bunch that could be mustered: the Australian Imperial Force. the AIF's defence of the harbour city of tobruk against the Afrika Korps' armoured division is not only the stuff of Australian legend, it is one of the great battles of all time, as against the might of General Rommel and his Panzers, the Australians relied on one factor in particular to give them the necessary strength against the enemy: mateship. Drawing on extensive source material - including diaries and letters, many never published before - this extraordinary book, written in Peter FitzSimons' highly readable style, is the definitive account of this remarkable chapter in Australia's historyworld war 1939 – 1945 – campaigns – north africa, siege of tobruk

Copy of two page computation of Poppet Legs Monument for Long Gully History Group, dated July 02. The first page is Framing sizes (proposed) and the second page is Base Details. The first page details the type of materials and sizes to use, the names of the various pieces and the lengths. Frame to be Hot Dipped Galvanised. The second page details the size, concrete strength, chamfer on edges of base and insertions into concrete to weld the legs to. Both drawings have a graph paper background.bendigo, history, long gully history group, the long gully history group - poppet legs monument for long gully history group, osborne consulting group, howard terrace

A rubber teat would be attached to the top of this nipple shield for breast feeding. From 1801 onwards, nipple shields were available in a variety of materials, such as pewter, horn, bone, ivory, wood, glass and silver. They varied in shape from a bell to a flatter, cap shaped appliance. With the application of the nipple shield, the baby was able to take milk from the breast without giving added trauma to the nipples. In the ante partum period the nipple shield could be worn to assist in drawing out flat nipples; or, as it was known during this period, for the formation of "new nipples". (Fildes, Valerie. 'Breasts, Bottles & Babies - A History of Infant Feeding', 1986) Mary Howlett (1840-1922) began practising as a country midwife in 1866 in the western district of Victoria. She qualified as a 'ladies monthly nurse' in 1887 and continued to practise as a nurse and midwife until 1920. She began her six months training at the Melbourne Lying-In Hospital. She was known by many as 'Auntie', and her career spanned more than 50 years. Mrs Howlett's midwifery box and contents were given to Dr Frank Forster, and he donated them to the museum collection in 1993. Glass nipple shield. Shape resembles that of a bell.infant feeding, midwifery

A rubber teat would be attached to the top of this nipple shield for breast feeding. From 1801 onwards, nipple shields were available in a variety of materials, such as pewter, horn, bone, ivory, wood, glass and silver. They varied in shape from a bell to a flatter, cap shaped appliance. With the application of the nipple shield, the baby was able to take milk from the breast without giving added trauma to the nipples. In the ante partum period the nipple shield could be worn to assist in drawing out flat nipples; or, as it was known during this period, in the formation of "new nipples". (Fildes, Valerie. 'Breasts, Bottles & Babies - A History of Infant Feeding', 1986) Mary Howlett (1840-1922) began practising as a country midwife in 1866 in the western district of Victoria. She qualified as a 'ladies monthly nurse' in 1887 and continued to practise as a nurse and midwife until 1920. She began her six months training at the Melbourne Lying-In Hospital. She was known by many as 'Auntie', and her career spanned more than 50 years. Mrs Howlett's midwifery box and contents were given to Dr Frank Forster, and he donated them to the museum collection in 1993.Glass nipple shield. Shape resembles that of a bell.midwifery, infant feeding

Three articles under the title 'Bennelong Designs" (1) Drawing a dream by Mungo MacCallum (2) Dream into sculpture", (3) Consultant's role by Ove Arup. Robin Boyd’s desk cupboard contained two exercise books (item D482.1-D482.2) and assorted articles, essays and other material regarding the building of the Sydney Opera House, inserted inside the front cover of Walkabout magazine, July 1966 (item P1377). This publication is one of those inserts. Many of these were collected by Boyd’s eldest daughter, Mandie, who recalls that her father was writing a book, but was very disillusioned with the way the entire Opera House saga unfolded.Newspaper booklet of 24 pages, Nation No 192. pp. 12-15sydney opera house, utzon, sydney opera house project, walsh st library

"The hated Protector" tells for the first time the real story behind the extraordinary experiences of Charles Sievwright, Assistant Aboriginal Protector from 1839-42 in what was then part of the British colony of New South Wales, but is now the Western District of the Australian state of Victoria. Sievwright, an Edinburgh-born former British army officer, lived in the bush with his young family as he tried to save the Aborigines of the District from extinction. In doing so, he would isolate himself from the rest of his fellow whites. The hated Protector tells of this process. The book should appeal to anyone interested in British colonial and Australian history, particularly in the years of first contact between British settlers and the Aborigines. More broadly, it should also appeal to anyone interested a story of one man's battle against overwhelming odds, where the price of failure was numerous deaths. It is a story of hatred, prejudice, courage, determination, and hope. In telling Sievwright's story, Lindsey Arkley draws largely on original archival material, including official reports, journals and letters, found in Melbourne, Sydney, Hobart, Edinburgh and London. Most has never before been published. The archival material is supplemented by contemporary newspaper accounts, and some oral history. Full notes are given to all sources, and the book is indexed and lavishly illustrated with drawings by Joan Bognuda, as well as about 80 paintings and samples of documents. Contents: 1. In the bush 2. "Equal and indiscriminate justice" 3. "A few doses of lead" 4. "A curse to the land" 5. "The most unpopular man" 6. Retaliation 7. A hostage debate 8. Hallucinations 9. A mass escape 10. Possessors of the soil 11. Move to Keilambete 12. Bureaucratic 13. "A hideous pandemonium" 14. Divine visitations 15. Pay backs 16. Explanations 17. A squatter on trial 18. Claptrap and deceit 19. The black cap - 20. To Mt Rouse 21. "The impending evil" 22. In the balance 23. An arrest at Mt Rouse 24. A fair moral name 25. Roger's trial 16. Intensified evidence 27. A declaration of war 28. Mr Cold Morning 29. Holding ranks 30. To rags 31. Fightback 32. Return to London 33. The inquiry 34. Judgement 35. And what remains.maps, document reproductions, b&w photographs, colour photographs, b&w illustrationscharles wightman sievwright, racial policies, british colonial history, race relations, victorian history

This gum leaf painting is one of a pair displayed on foil in the same frame. It is typical of many paintings by the self-taught Australian artist Alfred William Eustace (1820-1907). A.W. Eustace, a well-known Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and camped on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skillful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.An oil painting on gum leaf by the well-known Australian artist Alfred William Eustace. He was a self-taught artist during the 19th and early 20th century and a prominent resident of Chiltern. Oil painting on gum leaf by Alfred William Eustace. A scene of a log cabin on Black Dog Creek Road, Chiltern, with Skeleton Hill in the background. The canvas is a juvenile Red Box (Eucalyptus polyanthemos) leaf. It is one of a pair of Eustace gum leaf paintings mounted on gold foil, under glass in a brown frame. Inscription on back. Labels on back: Rehoused by The Centre for Cultural Materials/ Conservation, University of Melbourne "Oil on Gum Leaf"/ by Alfred William Eustace/ Donor:- Cam & Connie Boadle/ Wales U.K. Crescent/ MUSEUM/ GRADE/ 24 OCT 1998/ CONSERVATION BOARD ALBURY/ PICTURE FRAMERS/ Shop 15 & 16/ AMP Lane,/ Albury, 2640/ Ph: 02 6021 7088black dog creek, chiltern, alfred eustace, skeleton hill, gum leaf, painting, eustace

Wilfred Clarence Busse, born in Chiltern in 1898, His family moved to the region during the gold rush and continued to reside in the area, purchasing land adjacent the Murray River. Busse completed his secondary education at Wesley College in Melbourne then studied law at the University of Melbourne. Busse went on to become a barrister, often in the chambers of Sir Leo Finn Bernard Cussen (1859-1933) a judge of the Supreme Court of Victoria. He worked most of his life in Chiltern as a Barrister and Solicitor and gained the unofficial title of historian of Chiltern, leaving behind several manuscript histories and a scrap book. Busse was an avid fictional writer and in 1930 he published two novels. Time spent on a Victorian station in his early twenties, as well as careful documentary research, informed the writing of his historical novels of bush life. "The Blue Beyond; A Romance of the Early Days in South Eastern Australia” and "The Golden Plague: A Romance of the Early Fifties." "The Golden Plague” won the T. E. Role gold medal for the best historical novel which went on to become a best seller. Busse often drew inspiration for his novels from his younger years living Chiltern. His passion for the region lead him to write “The History of Chiltern” which was published in a serial form in the Chiltern Federal Standard from 1922-1923. Wilfred Clarence Busse was a member of Chiltern Athenaeum (where this object is now held) up until his death in 1960, he is buried in the Barnawartha Cemetery. The leaf shaped motif of this particular spoon appears to be stylised in a simple form of decorative arts and craft or even Art Nouveau style favoured in Europe between 1880-1920 and less representational than examples of Australiana flora captured in silversmithing from the 1850's onwards. According to Christine Erratt, due to the goldrush in the 1850's, there was increased wealth in the colony and an influx of immigrants from Europe to Australia who brought with them silversmithing skills which began ‘the golden age’ of Australian silver', Erratt says that 'Australia's unique flora has been portrayed in the decorative arts since the early colonial times of the last decade of the 18th century. The use of Australian flora to decorate silverware is of particular interest and diversity'. It is likely that those producing silverware at the time would be drawing on the decorative arts movement while incorporating elements of the natural beauty in the flora of their newfound environment into the silverware they produced. There are no discerning maker hallmarks to place where it was produced or ascertain the material accurately.Wilfred Clarence Busse was of social significance to Chiltern, he helped to document the cultural story of the area in his published works "The Golden Plague" and "The Beyond Blue" by recounting his own upbringing in a bush lifestyle. He was a respected Barrister and was the unofficial historian of the Chiltern Athenaeum for many years. This spoon represents a window into the domestic life of this person who was well loved in the area, and it continues its relationship to Busse as well as Chiltern by being held within the very collection he helped to maintain in his life. Domestic objects tell us the story about how people lived, objects of daily use hold particular meaning in that they can tell us the story of an individual, we feel closer to their life and habits, it humanises and connects us across time. A tarnished small silver teaspoon with leaf-shaped head and slim handlesilverware, wilfred clarence busse, busse, chiltern, chiltern athenaeum, federal standard, t. e. role, "the blue beyond, a romance of the early days in south eastern australia”, "the golden plague: a romance of the early fifties.", "the golden plague”, wesley college, university of melbourne, sir leo finn bernard cussen, supreme court of victoria, gold rush, murray river, “the history of chiltern”, silversmithing, spoon, decorative arts, floral, flora, australiana, australian flora, arts and craft movement, australian silver, cussen