Used in shoe repair as a work stand, shoe lasts come in various sized depending on the shoe size.Cast iron triple shoe lastshoe lasts, bootmaking tools

Bell - conductors - cast brass circular with a square hole in the centre, polished on one side and rough cast on the inside. Part of a conductors bell.trams, tramways, bell, conductors, tramcars, equipment

Colour photograph of cast iron in Avoca, Victoriaavoca, cast iron lace, hotel

Albert E. WILLIAMS (1899-1986) Victoria, Australia Albert E. Williams first studied art under Fred Foster after being awarded a scholarship to the Ballarat East Art School. In 1913 he became one of the first intake of 83 students to study the Merit Certificate at the newly opened Ballarat Junior Technical School. Williams was the second person to receive a certificate from that institution. He then studied under H.H. Smith for the Art Teachers’ Certificate at the Ballarat School of Mines Technical Art School between 1915 and 1920. Williams joined the staff of the Ballarat Junior Technical School in 1921, teaching sign writing, ticket writing and house decoration. He taught in other technical schools between 1923 and 1928, returning to Ballarat in that year to fill a vacancy left by John Rowell . Williams continued his teaching career at both the Ballarat School of Mines Technical Art School and the Junior Technical School until 1942. He taught in various other technical schools from 1943, retiring as Headmaster of the Brighton Technical School in 1964. Albert E. Williams continued producing artwork throughout his career, and was responsible for the education of generations of artists and art teachers. In 1937 he was living at 302 Drummond Steet South, Ballarat. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007. Unframed pencil drawing of a plaster cast of a human figure known as the Dancing Faun, a marble sculpture first recorded in 1665, when Albert Rubens listed it as in the collection of the Grand Duke of Tuscany in Florence (probably long owned by the Medici). By 1688 the sculpture was held by the Uffizi in Florence. In September 1800 the sculpture was sent to Palermo along with other treasures to avoid plunder by the French army, but it was returned to the Florence in 1803. By the 18th Century the Dancing Faun gained a reputation as one of the finest ancient sculptures in existence. A faun makes music by simultaneously playing the ‘crotala’ (similar to cymbals) in his hands and the ‘scabellum’ or ‘croupezion’ under his right foot. In Victorian Education Department examinations, this sculpture was sometimes called the "Clapping Faun".Written on the mount board below the drawing "Drawing Human Figure from the Cast. for art Teacher's Certificate 1931 by Albert E. Williams. Tech. Art School, Ballarat."art, artwork, albert e. williams, williams, ballarat technical art school, art teacher's certificate, a.e. williams, alumni, drawing from the cast, drawing from the antique, drawing the himan figure from the cast, dancing faun

Shoe lasts were used by shoe and boot repairers to steady the shoe while working on it. They come in various sizes depending on the shoe size.Triple last (three shoe sizes), cast ironshoe lasts, shoe making, bootmakers tools

Cast iron shoe last broken fromNil triple stand

Cast Iron circle base with 3 holes and nut and bolts to screw to bench. Raised plinth with centre hole to stand shoe last in. Removable cast iron shoe last with leg to put in hole in plinthNil

Cast photo of Cherry Blossom performers, taken on stage with set features in the background.tatura, hall, festivals, costume, female, male, performing, arts, theatrical, plays

This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Slip cast and bisque fired pair of hands. One still with seams. Maker unknown.art, artwork, hands, ceramic

Cast brass and machined handle used on tramcars fitted with air operated sliding doors.trams, tramways, sliding door tramcars, tramcar component, preston workshops

This item is from the ‘Pattison Collection’, a collection of books and records that was originally owned by the Warrnambool Mechanics’ Institute, which was founded in Warrnambool in 1853. By 1886 the Warrnambool Mechanics’ Institute (WMI) had grown to have a Library, Museum and Fine Arts Gallery, with a collection of “… choice productions of art, and valuable specimens in almost every branch and many wonderful national curiosities are now to be seen there, including historic relics of the town and district.” It later included a School of Design. Although it was very well patronised, the lack of financial support led the WMI in 1911 to ask the City Council to take it over. In 1935 Ralph Pattison was appointed as City Librarian to establish and organise the Warrnambool Library as it was then called. When the WMI building was pulled down in 1963 a new civic building was erected on the site and the new Warrnambool Library, on behalf of the City Council, took over all the holdings of the WMI. At this time some of the items were separated and identified as the ‘Pattison Collection’, named after Ralph Pattison. Eventually the components of the WMI were distributed from the Warrnambool Library to various places, including the Art Gallery, Historical Society and Flagstaff Hill. Later some were even distributed to other regional branches of Corangamite Regional Library and passed to and fro. It is difficult now to trace just where all of the items have ended up. The books at Flagstaff Hill Maritime Village generally display stamps and markings from Pattison as well as a variety of other institutions including the Mechanics’ Institute itself. RALPH ERIC PATTISON Ralph Eric Pattison was born in Rockhampton, Queensland, in 1891. He married Maude Swan from Warrnambool in 1920 and they set up home in Warrnambool. In 1935 Pattison accepted a position as City Librarian for the Warrnambool City Council. His huge challenge was to make a functional library within two rooms of the Mechanics’ Institute. He tirelessly cleaned, cleared and sorted a disarrayed collection of old books, jars of preserved specimens and other items reserved for exhibition in the city’s museum. He developed and updated the library with a wide variety of books for all tastes, including reference books for students; a difficult task to fulfil during the years following the Depression. He converted all of the lower area of the building into a library, reference room and reading room for members and the public. The books were sorted and stored using a cataloguing and card index system that he had developed himself. He also prepared the upper floor of the building and established the Art Gallery and later the Museum, a place to exhibit the many old relics that had been stored for years for this purpose. One of the treasures he found was a beautiful ancient clock, which he repaired, restored and enjoyed using in his office during the years of his service there. Ralph Pattison was described as “a meticulous gentleman whose punctuality, floorless courtesy and distinctive neat dress were hallmarks of his character, and ‘his’ clock controlled his daily routine, and his opening and closing of the library’s large heavy doors to the minute.” Pattison took leave during 1942 to 1945 to serve in the Royal Australian Navy, Volunteer Reserve as Lieutenant. A few years later he converted one of the Museum’s rooms into a Children’s Library, stocking it with suitable books for the younger generation. This was an instant success. In the 1950’s he had the honour of being appointed to the Victorian Library Board and received more inspiration from the monthly conferences in Melbourne. He was sadly retired in 1959 after over 23 years of service, due to the fact that he had gone over the working age of council officers. However he continued to take a very keen interest in the continual development of the Library until his death in 1969. The Pattison Collection, along with other items at Flagstaff Hill Maritime Village, was originally part of the Warrnambool Mechanics' Institute’s collection. The Warrnambool Mechanics’ Institute Collection is primarily significant in its totality, rather than for the individual objects it contains. Its contents are highly representative of the development of Mechanics' Institute libraries across Australia, particularly Victoria. A diversity of publications and themes has been amassed, and these provide clues to our understanding of the nature of and changes in the reading habits of Victorians from the 1850s to the middle of the 20th century. The collection also highlights the Warrnambool community’s commitment to the Mechanics’ Institute, reading, literacy and learning in the regions, and proves that access to knowledge was not impeded by distance. These items help to provide a more complete picture of our community’s ideals and aspirations. The Warrnambool Mechanics Institute book collection has historical and social significance for its strong association with the Mechanics Institute movement and the important role it played in the intellectual, cultural and social development of people throughout the latter part of the nineteenth century and the early twentieth century. The collection of books is a rare example of an early lending library and its significance is enhanced by the survival of an original collection of many volumes. The Warrnambool Mechanics' Institute’s publication collection is of both local and state significance. The Watcher on The Cast-Iron Balcony An Australian Autobiography Author: Hal Porter Publisher: Faber and Faber Label on spine cover with typed text PAT 920 POR Front loose endpaper has a sticker from Corangamite Regional Library Service warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, book, pattison collection, warrnambool library, warrnambool mechanics’ institute, ralph eric pattison, corangamite regional library service, warrnambool city librarian, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library, great ocean road, the watcher on the cast-iron balcony, hal porter

This photograph was printed from a glass negative held in the Society's picture collection. The original glass negative is part of a set donated to the Society by Ian McKenzie, a professional photographer in Kew. The Cast and Audience, ca. 1900 - ca. 1920. The cast and audience at a theatrical event. What appear to be adult performers are seated in the first two rows. [It was once believed that the photograph was of a gathering in the Kew Recreation Hall in Wellington Street (now demolished), however the vaulted ceiling is not the same.] theatre productions, glass negatives

cast iron stand with 2 different sized shoe lasts. Third last has been broken of standnil

In particular I have been using these methods of construction [slab] to interpret the traditionally spherical form of the teapot as a cubist painter might by squaring it up and transposing curved surfaces into planes and angles. These geometric versions provide flat surfaces for pattern making and light reflection, and the objects become increasingly more decorative than functional. I find enormous pleasure in bending convention to the verge of impracticality. But not so radically that l miss the challenge of producing a form that still incorporates most of the elements of a properly functioning teapot, such as the height of the spout to the pot, the ease of filling, emptying, and handling. Surface decoration plays a vital role in reinforcing the abstraction. Bold areas of black underglaze are applied with distinct boundaries dictated by the form’s angles and planes. In pairs or ad hoc groupings the teapots react with each other and the spaces between to present complex geometric patterns. High firing produces a dense, almost vitrified body and the surface quality I admire without the need for glaze. Although some with more functionality may be glazed inside.(http://www.diannepeach.com/, accessed 23 July 2021)Dianne PEACH (1947- ) Since being introduced to pottery by Milton Moon and David Smith in the mid 60s Dianne Peach initially focused on wheel thrown functional war, which expnded include the infinite possibilities of slab building and casting. This work was purchased from the "Fresh Clay' Exhibition in 1983.Electric kiln fired slip cast earthenware teapot with stencils and coloured glazes. Purchased from the 'Fresh Clay' exhibition, 1883.dianne peach, jan feder memorial ceramics collection, jan feder, ceramics, teapot, fresh clay exhibition

The attachment to letter (item D336.1) with details of Rough cast-off of "The Great, Great, Australian Dream".Photocopy. quarto. 1 page

Cast steel and machined Self Lapping air brake handle stamped "CAR 19". Could have been allocated to Freight car 19 or 19W.trams, tramways, brakes, tramcar component, preston workshops

Edith (Alice) WATSON (1914–2010) Murtoa | Australia Alice Watson studied at the Ballarat Technical Art School (at the School of Mines, Ballarat) from 1930 until 1933. Watson sat several departmental exams, including drawing and painting plant forms from nature, lettering, Composition of Form and Colour and advanced General Design, as well as dressmaking and embossed leatherwork. Her folio applies many Australian native floral elements to design. Upon graduating, Watson taught at the Murtoa High School, living with her parents until their deaths in 1972 and 1988 when she was 74 years old. Alice Watson died in Ballarat, aged 95, having conserved her beautiful student folio, which was generously gifted to the Federation University permanent Historical Collection by the Watson family.A series of drawings undertaken by Alice Watson when she was studying "Drawing From the Plaster Cast" at the Ballarat Technical Art School. Some drawings are double sided.plaster casts, drawing, ballarat technical art school, alice watson, edith alice watson, alumni, visual arts

The artwork undertaking at the Ballarat School of Mines was found in a folio on top of wardrobe at the nursing home where Edith Watson lived. It is assumed that the artworks were quite precious to the maker.A number of certificates awarded to Edith Alice (Alice) Watson. .9) Blue print on cream card, black ink hand writing with purple director's stamp. Certificate No. 166936 Awarded to Edith A. Watson"ADVANCED" stamped in purple ink. "Ballarat School of Mines No. 10" stamped in red. Edith A. Watson Pass in Drawing Ornament from a cast in Light and Shade, 1931. art, technical school certificate, edith a watson, m p h ansen director of education, edith watson, drawing from the antique, m. p. h. ansen, certificate, alice watson, alumni

Cast Iron fire-surround. Ornate border with 2 metal round feet in front. One knob on LH side with one missing and 2 knobs on RH side.

This ornate cross sits at the right hand side of View of Trajan's column, Cast Courts, Room 46a, The West Court, Victoria and Albert Museum, London. Cast Courts: "When the Architectural Courts – or Cast Courts as they are now known – opened in 1873, The Builder magazine compared the experience of seeing them to a first glimpse of Mont Blanc, creating one of those 'impressions that can scarcely be effaced'. Since then, these two enormous rooms and the reproductions they contain have continued to impress and inspire visitors to the Museum. For centuries, antiquarian interest in world architecture and sculpture led to reproductions – or copies – being made of outstanding national monuments and notable sculptures. When the Museum was founded, it collected and displayed reproductions of great art and architecture from across the world in order to offer objects for study and tell a complete story of the history of art and design. Casts are made by placing several plaster moulds upon the surface of the original structure. Once hardened and removed, the moulds are then enclosed in an outer casing, the interior coated with a separating agent and the wet plaster poured in. When set, the pieces are then assembled and the joints and surfaces finished off, to make a complete reproduction of the original work. The finished product – as well as being a formidable technical achievement in its own right – enables admirers to study faithful reproductions of important monuments and works of art." Ref: https://www.vam.ac.uk/articles/history-of-the-cast-courtslondon, victoria and albert museum, cast courts

This 75 mm cast iron pipe was laid in 1920 and would have been cement lined in the 1960's. It was replaced during modifications of Jamieson Street Roundabout Pipe Works in 2013 Rust encrusted on the outside, cement lined on the insidewater, pipe, reticulation

This 100 mm cast iron pipe was laid in 1920 and would have been cement lined in the 1960's. It was replaced during modifications of Jamieson Street Roundabout Pipe Works in 2013 Rust Encrusted on the outside - cement lined on the incsidewater, pipe, reticulation

The Kew Elder Citizen's Association was formally established in 1952. During its initial years it met at South Esk in Cotham Road. Later the Club moved to its current headquarters in High Street.Framed photograph of a theatrical performance of 'Cinderella' by the Kew Elder Citizens' Club in 1976. Handwritten insert below photograph: "Cinderella - Cast, 1976 / Arthur Sharpe; The Prince - Hec Camm; Fairy Godmother - Bill Humphries; Step-sisters - Wally Tustin, Ralph Preston, George Driver; Compere - Alma Westcott".kew elder citizens' club -- association, community groups -- kew (vic.), kew senior citizens, theatre -- kew (vic.)

The Kew Presbyterian Church was located in Cotham Road, Kew on the corner of Highbury Grove. The Church Hall was located next door in Highbury Grove. On amalgamating with the Uniting Church the buildings became redundant and are now the Kew Chinese Baptist Church.Original photograph from the 1930s that records the kinds of social and spiritual actions of church goers in Kew.Members of the cast of an unidentified performance, probably during the 1930s in Kew, pose for a group photograph. The photograph was originally identified as possibly being the Kew Light Opera Company, however the photograph precedes its foundation. It is more likely to be a performance by a church group.cast photographs, theatre - melbourne

Cricketer W.G. Grace said the City Oval was the 'most English' of any grounds he had played on in Australia. The City Ova Grandstand was constructed in 1898 to the designs of Clegg, Kell and Miller. The arched roof is supported by iron columns with cast iron brackets. Three squat lanterns are a feature of the roof, and support flagpoles. The cast iron balustrading at the front of the grandstand features a sunflower pattern, and the upper tiered section covers dressing rooms and internal stairways. Registered by Heritage Victoria, it is significant as a large and intact grandstand. The design, especially the roof, is unique in Victoria and the setting is enhanced by the ancillary ticket boxes and nearby mature trees. It was classifed by the National Trust on 11 June 1981. Colour photograph of the iron work at the Ballarat City Oval Grandstand.grandstand, ballarat city oval, cast iron, iron lace

In the industrialized world, as stoves replaced open fires and braziers as a source of more efficient and reliable heating, models were developed that could also be used for cooking, and these came to be known as kitchen stoves.  The first manufactured cast-iron stove was produced at Lynn, Mass., in 1642. This stove had no grates and was little more than a cast-iron box. About 1740 Benjamin Franklin invented the “Pennsylvania fireplace,” which incorporated the basic principles of the heating stove. The Franklin stove burned wood on a grate and had sliding doors that could be used to control the draft (flow of air) through it. Because the stove was relatively small, it could be installed in a large fireplace or used free-standing in the middle of a room by connecting it to a flue. The Franklin stove warmed farmhouses, city dwellings, and frontier cabins throughout North America. Its design influenced the development of the pot-bellied stove, which was a familiar feature in some homes well into the 20th century. The first round cast-iron stoves with grates for cooking food on them were manufactured by Isaac Orr at Philadelphia, Pa., in 1800. The base-burning stove for burning anthracite coal was invented in 1833 by Jordan A. Mott. The subject item is a mid to late 19th century settlers stove probably of Canadian manufacture imported into Australia around this time. The stove gives us a social snapshot into what life must have been like for our early colonialists using this device for heating and cooking in their meagre homes. Cast iron stove with four-legs, 2 plates on top and a hinged front door. The door has been cast with a maple leaf design and the sides have a pattern cast into them.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, stove, domestic heating, domestic cooking, heater, cooking unit, pot belly stove, wood fired stove, wood stove

The Kew Presbyterian Church was located in Cotham Road, Kew on the corner of Highbury Grove. The Church Hall was located next door in Highbury Grove. On amalgamating with the Uniting Church the buildings became redundant and are now the Kew Chinese Baptist Church.Original photograph from the 1930s that records the kinds of social and spiritual actions of church goers in Kew.Members of the cast of a performance take a certain call at the end of a performance. The item was part of a group of photos relating to the Kew Presbyterian Church, so it may show a performance in which members of the church participated or led. The location of the performance is unclear; it might be at the Kew Recreation Centre or in the Kew Presbyterian Church Hall. Intriguingly, what look to be bunya bunya pines appear in the distance above the proscenium. The photograph was originally identified as possibly being the Kew Light Opera Company, however the photograph precedes its foundation. It is more likely to be a performance by a church group.cast photographs, theatre - melbourne