SEEDER, METAL CONTAINER WITH LONG HANDLES AND WHEELS AND HOE ASSEMBLYIMPRINTED IN THE LID OF THE METAL SEED BOX "PLANET JR NO.4"seeder, agriculture equipment

Black and white photograph. Two students working with hoes in the Orchard.On reverse, "Ted Windsor (sic) Dept of Ag. Students are E (Ted) Winzer CRTS and V.A. (Anne) Tate (1951)."e.winzer, ted winzer, v.a. tate, anne tate, commonwealth reconstruction training scheme, orchard, students working outside

Colour Photograp of a back hoe in a deppe trench with a Man looking on.

Black and white photograph. Female student hoeing between vegetables in the Orchard. On reverse, "Photograph by Publicity Branch Victorian Department Of Agriculture Ref. No. c.1762.K."female students, vegetables, hoeing, student working outside, orchard, publicity

Used as an illustration in, "Green Grows Our Garden," A.P. Winzenried p 26. Mentioned by A.W Jessep in newspaper interviews during his time as Principal. In Department of Agriculture Annual Report 1901Black and white and sepia photographs. Group of female students hoeing in the Orchard. On reverse, "Cultivating Field Crops 1900." Larger b/w copy labelled on front, "1900." On reverse, "Burnly (sic) 1900. Girl Students Cultivating Plots."female students, hoeing, orchard, field crops, green grows our garden, a.p. winzenried, a.w jessep, students working outside, dept of agriculture annual report

A small combined hoe and rake metal headed hand scarifier or cultivator tool with a wooden handle. It has a pointed hoe shape at one end and at the opposite two hooked spikes. It could be used in small areas such as a garden.agricultural tools, tools, rakes, scarifiers, gardening tools, hand tools, hoes

A small forged steel combined hoe and rake head hand cultivator tool. It has one flattened hoe shaped edge at one end and at the opposite, three rake prongs, and there is an extension on the head for the wooden handle to be attached. It could have been used in small areas such as a garden in the 19th century..agricultural tools, tools, rakes, gardening tools, hand tools, hoes

Black and white photograph. Margot George and Peter Smith in the vegetable plots hoeing weeds. In the background the fruit trees are in blossom.margot george, peter smith, vegetable plots, students working outside, orchard, cabbages, fruit trees

A thick forged steel three pronged fork hoe head made by a blacksmith. There is a hole at the fork head where a handle can be attached.agricultural tools, gardening tools, hoes, gardening forks, handtools

Note by by T.H. Kneen 5 February 1992, "Student is Heather Hill (1949)-working alongside Webb-Way Irrigation System. I believe the Webb-way System was developed by Mrs Webb a progressive citrus grower in the Doncaster district and a good friend of Principal J.L. Provan." See it also in B98.1016.Black and white photograph. Female student working along rows of plants in the Orchard with a hoe. Webb-way irrigation system installed along the row.female students, heather hill, mrs webb, j.l. provan, student working outside, orchard, webb-way irrigation system, hoeing

Note by T.H. Kneen, "Students are Peter Smith and Margot George (1951)."Students, Peter Smith and Margot George, hoeing Rows of Vegetables, note the Webb-way Irrigation system. See B91.133 for description of Webb-way system.webb-way irrigation system, students, peter smith, margot george, vegetables, students working outside, orchard

A thick forged steel three pronged fork hoe head made by a blacksmith. There is a bent extension piece at the fork head where a handle can be attached.agricultural tools, gardening tools, hoes, gardening forks, handtools

Possibly used for cleaning out animal pens.eg. horses and pigs. Used like a hoe but heavier and stronger.Used by residents of the Kiewa ValleyThick steel tool head with hole at one end for the handle and two parallel points. Possibly hand made.pick, double tyne prong pick, farming equipment, hand tool

Used by students at BurnleyWooden handles direct a metal chassis with two tynes attached and two cast iron spoked wheels. Pulled by second person with rope attached. Stencil of manufacturer painted on wooden handles.MINTERN D.W.HOE burnley college of horticulture, hoe, pedestrian plough, hand plough

Used in the 19th Century. A forged steel two pronged Forked Hoe head used to break up very hard or dry ground. There is a bend at the top of the fork with a hole for the handle. It was made by a blacksmith and used in the 19th century.agricultural tools, gardening tools, steel, pitchforks

EIG School - Ralph Birrell Collection. - Construction of Latrobe Uni. C1966. Bendigo Institute of Technology, Engineering School, Applied Science. Men working with jackhammers and shovels at their sides. Back hoe in back ground.Kodakeducation, tertiary, latrobe university bendigo, eig school - ralph birrell collection. - construction of latrobe uni. c1966. bendigo institute of technology, engineering school, applied science. men working jackhammers shovels. back hoe

Alan Partington's hoe movies: Reel 1: Football Greensborough; Reel 2: Stawell Gift; Reel 3: Homecoming; Kids at Zoo; Geelong HeatsThree 8mm movie films in yellow card boxes.greensborough football club, stawell gift, geelong heats, alan partington

Copy of sepia photograph in, "Prize Essays," Alfred E. Bennett, c.1894, after p 116. 5 male students working with hoes along lines of vegetable crops in an area bounded by a picket fence.prize essays, alfred e. bennett, students working outside, orchard, vegetables

It was used on well worked ground.A combined hoe and rake metal headed hand scarifier or cultivator tool with a long wooden handle. It has three curved metal hooks with sharp points and was used to break up the ground. It could be used in small areas such as a garden.agricultural tools, tools, rakes, scarifiers, gardening tools, hand tools, hoes

The adze is an agricultural tool, similar to an axe, but the blade is affixed perpendicular to the handle. Used primarily for smoothing or carving wood, the adze can also be used as a hoe. This adze is missing its wooden handle, which may vary in length depending on their particular purpose and can be designed for one handed or two-handed use. Rusted, well worn, blacksmith made with bias on blade. No handle. An adze is a tool similar to an axe.adze, churchill island, farm, axe, tool, tools, blacksmithing, smithing, blacksmith

Frank Robinson hoeing the apricot orchard at Blackjack with son Andrew in rear. The Blackjack property, house and acres of fruit orchards ran down to the Plenty River off Hume Street Greensborough and was the home of the Robinson family to late 1956. The photographs were taken as slides by Frank Robinson and digitised by his son James in 2015.Digital copy of colour photograph.frank robinson, blackjack

The adze is an agricultural tool, similar to an axe, but the blade is affixed perpendicular to the handle. Used primarily for smoothing or carving wood, the adze can also be used as a hoe. The wooden handles vary in length depending on their particular purpose and can be designed for one handed or two-handed use. This adze was made by Australian farming company, Hytest.Adze. Long, slightly curved wooden handle, with a steel arched blade perpendicular to the handle. Hytesthytest, adze, axe, tool, tools, farming, farm, churchill island

Lever tyned walking scarifier, pulled by a horse. Designed for use in market gardens and is adjustable so the distance between rows may be varied. These items were on sale between C1900 and C1940 .Its lightweight construction suggests that this exhibits a late rather than an early model. Similar to a horse hoe scuffer used in America.rural industry, agriculture

Colour photograph of installation of new sleepers into access track of Ballarat Tramway Museum, using a backhoe. Taken on 4.12.95. In photo are: Gary Wood (working with shovel), Richard Gilbert (with hat) and Greg Rogers. New sleeper being inserted. Remains of old sleeper by back hoe bucket. Photo appeared on page 22 of Trolley Wire, Feb. 1996.On rear in pencil is 4 inside a circle and stamp with sticker 'William F. Scott/ 4.12.95 23'btm, trackwork, sleepers

An Adze is versatile cutting tool similar to an axe but with the sharp cutting edge perpendicular to the handle rather than parallel. The wooden handle is straight and the blade has a slight curve. They are used for smoothing or carving wood such as sleepers An adz, with its long handle, cuts with the grain, and the nature of the chips is different from an axe. While they have a similar shape, they should never be confused with a hoe or mattock used for agriculture and horticulture. Adze - smalltimber tools

An Adze is versatile cutting tool similar to an axe but with the sharp cutting edge perpendicular to the handle rather than parallel. The wooden handle of this adze is shaped like an axe handle and the blade also has a slight curve. They are used for smoothing or carving wood such as sleepers An adz, with its long handle, cuts with the grain, and the nature of the chips is different from an axe. While they have a similar shape, they should never be confused with a hoe used or mattock for agriculture and horticulture.Adze - Largetimber tools

Ushabti are tiny anthropoid (human-shaped) figures placed in the tombs of wealthy Egyptians. They were intended to do the work of the deceased in the afterlife. This purpose is implied through their name, which may have derived from the Egyptian word “to answer”. The Burke Museum in Beechworth is home to a particular ancient Egyptian Ushabti figure. This artefact was donated to the Museum in 1875. No details about how it left Egypt, arrived in Australia, and where it was located before this donation are known. The Nineteenth Century, when this artefact was donated, was a period when many museums acquired items of ancient Egyptian heritage. Many of these items were procured in less than desirable circumstances, having often been looted from ancient tombs and sold to tourists without documentation as to their original location and/or accompanying grave goods. These artefacts were also divested through partage (the trading of artefacts for funds); however, the latter is unlikely to have been the case for this artefact. Since the Ushabti was donated by an unknown donor, it is likely to have been in a private collection rather than an institution. Ushabti can be dated using iconographic analysis which is non-invasive and provides a comprehensive study of the artefact. The later period of the 18th Dynasty marked the beginning of an increase in both the inclusion of Ushabti as essential funerary items and the creation of Ushabti with tools. From this period, they are no longer depicted without tools. Depictions of tools including gardening hoes are frequently depicted grasped in the Ushabti’s hands whilst items like the seed-bag are depicted hanging on the back rather than in an alternative position. This Ushabti figure grasps a gardening hoe and a mattock and a small seed bag surrounded by a yoke bearing water jars are depicted on the upper back of the Ushabti. These features are essential in helping narrow this dating to the late 18th and before the early 20th Dynasty. The position of this seed bag also provides dating information. In the early 18th Dynasty this bag was consistently drawn on the front of the figurine; however, by the reign of Seti I, this feature moved to the back. Thus, since the seed bag is located on the back of this Ushabti, it cannot date to the early 18th Dynasty. By the 19th Dynasty, Ushabti’s were increasingly made from either faience or terracotta. The availability of these materials in Egypt resulted in the increase of Ushabti production with tombs containing many more figurines than previously seen. The Ushabti held by the Burke collections is made from terracotta. Terracotta was rarely used for Ushabti before and during the early 18th Dynasty with only the odd appearance until the late 18th Dynasty and becoming common through that period until the late Third Intermediate Period. Whilst the face has been damaged, there is no evidence for the Ushabti having been provided with an Osirian false beard. This omission rules out a dating of later than the 25th Dynasty when beards became prominent. The inscriptions also date the Ushabti to the New Kingdom. This is because of the use of sḥḏ (“to illuminate”) with Wsjr (“Osiris”) which only occurs in these periods. Therefore, considering all these elements, the Ushabti can be confidently be dated to between the late 18th to early 19th dynasty.Artefacts like this Ushabti are no longer exclusively representative of their origins in burial assemblages and significance in the mythology of the Egyptian afterlife but are also significant for the accumulated histories they have gained through travel. The movement of this artefact from Egypt to Australia allows insight into the collecting habits of the 19th century, and in particular, the reception of ancient Egyptian artefacts in small rural museums. The procurement of Egyptian artefacts was a social trend around the late 1800s to early 1900s. Egyptian artefacts were considered curiosities and recognised for their ability to attract public attention to museums. They were also utilised in Australian museums, like the Burke Museum, to connect the collection to one of the oldest civilisations known to man and since Australia was considered a “young” country by European settlers, this was vital and derived from an interest in Darwin’s “Origin of the Species” 1859. Furthermore, there was a culture of collecting in the 1800s amongst the affluent in English society which led to the appearance of many Egyptian artefacts in private collections. The acquisition of this Ushabti figure is not certain, but it was likely donated from a private collection rather than an institution. This particular artefact is significant as an example of a high-quality Ushabti representative of those produced during the late 18th or early 19th century. It provides insight into the individualism of an Ushabti and the mythology of ancient Egypt. It also provides an example of the types of items required in the tomb assemblages of this period and reinforces the importance of ensuring the successful afterlife of the deceased through art. This Ushabti belonged to a woman named Taweret-Khaiti, Chantress of Amun, in the late 18th Dynasty or early 19th Dynasty (c.1292 BC) of the Egyptian New Kingdom. It likely comes from an undetermined tomb in the locality of Thebes. This figure is made from Nile silt clay (a polyester terracotta; clay sourced from the banks of the Nile River) which was a popular material for Ushabti construction in the early 19th Dynasty. It is in a fair state of preservation (with the exception of a break through the centre) and originally made to a high quality. The face has been damaged but the eyes and eyebrows are clearly marked with black ink and the sclera painted white. The Ushabti is painted a light brown/yellow colour and features a vertical line of inscription down the lower front. The Ushabti wears a large wig and and a schematic collar. The arms are painted light brown and depicted crossed with bracelets around the wrists. It grasps a hoe and mattock. A yellow seed-basket is depicted on the Ushabti’s back. These features represent the likelihood that this particular Ushabti was intended to complete farm work for the deceased in the next life. There would have been additional Ushabti of similar design within the tomb who worked under the supervision of a foreman Ushabti. The foreman Ushabti would be depicted dressed in the clothing of the living. The inscriptions are painted freehand in black ink and written in a vertical column from the base of the collar to the foot pedestal on the front of the Ushabti. The owner of the Ushabti could elect to have the figures inscribed with their name, the Ushabti spell and any other details they deemed necessary. In the case of this example, the Ushabti is inscribed with the owner’s details and is an abbreviated version of the standard Ushabti formula. This formula ensured that the Ushabti would complete the desired task in the afterlife when called upon by the deceased. Ushabti which were not inscribed would represent their intended purpose through design; however, this Ushabti, like most made in the late 18th Dynasty, conveys its purpose both through both design and inscription. The inscription is as follows: sHD wsir nbt pr Smayt imn tA-wr(t)-xai(ti) mAa xrw which translates to: "The illuminated one, the Osiris (the deceased), the mistress of the household, Chantress of Amun, Taweret-Khaiti, true of voice (justified)"ancient egypt

Document. Greeting Cards. Large white card with two holes at the top for hanging. It has a piece of orange cord through it. On the right, printed in silver capitals is: 'Be not afraid only believe Mark. 5.36.'. There is a piece of scroll work on each side of 'only'. On the left is a coloured picture of a brown house with a red roof. In the foreground is a path leading over a bridge to the house. On each side of the bridgeare flowers. On the left is a tree. Nearer the house, on the path is a man using a hoe or similar.person, greeting cards, malone collection, malone collection, greeting cards