The ship's log part, called a fish, is likely to be from a mechanical taffrail log system. It was recovered from the wreck site of the barque, the 1840-1852 Grange. There are no marks on the fish to identify its maker or model. It is part of the John Chance Collection. This ‘fish’ is part of an early to mid-1800s ship's log. It would likely have been part of a taffrail log connected to a rotor (also called propeller, spinner) by a strong line, and the other end connected by a line to a dial mounted on the taffrail, or stern rail, at the stern of the vessel. As the propeller rotated through the water it would spin the log, which in turn would cause a number to register on the dial, showing the current speed in knots; one knot equals one nautical mile per hour. TAFFRAIL LOGS A taffrail log is a nautical instrument used for measuring the speed of a vessel, providing vital navigational information to be calculated, such as location and direction. A log has been used to measure the speed of a vessel since the 1500s. A simple piece of wood was tied to a long line and thrown into sea at the back of the vessel. The rope was knotted all along at equal distances apart. On a given signal the log line was pulled back into the vessels, the knots counted until the log came up, then the figures were calculated by a navigator In 1802 the first successful mechanical log available for general use was invented by Edward Massey. It had a rotor 'V' section connected to a recording mechanism. The water’s movement rotated the rotor, which intern sent the movement to the recorder. There are examples of this invention available to see in some of the maritime museums. Thomas Walker, nephew of Edward Massey, improved on Massey’s design, and Walker and his son took out a patent on the A1 Harpoon Log. In 1861. Both Massey and Walker continued to improve the designs of the taffrail log. New designs were still being introduced, even up to the 1950s. THE GRANGE, 1840-1858- The wooden barque ’Grange’ was a three-masted ship built in Scotland in 1840 for international and coastal trade. On March 22, 1858, the Grange set sail from Melbourne under Captain A. Alexander, carrying a cargo of ballast. The barque had left the Heads of Phillip Bay and was heading west along the Victorian coast towards Cape Otway. The ship struck Little Haley’s Reef at Apollo Bay due to a navigational error and was stuck on the rocks. The crew left the ship carrying whatever they could onto the beach. Eventually, the remains of the hull, sails and fittings were salvaged before the wreck of the Grange broke up about a month later. About 110 years later, in 1968, the wreck of the Grange was found by divers from the Underwater Explorers Club of Victoria. They were amazed to find a unique, six to nine pound carronade (type of small cannon) and a cannonball on the site. There have been no other similar carronades recorded. In that same year the anchor of the Grange was recovered by diver John Chance and Mal Brown. The ship’s log is significant historically as an example of hardware used when building wooden ships in the early to mid-19th century. The ship’s log is historically significant as an example of the work and trade of blacksmith. The ship’s log also has significant as it was recovered by John Chance, a diver from the wreck of the Grange in the 1968. Items that come from several wrecks along Victoria's coast have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value. The ship’s log is historically significant for its association with the 1840s wooden barque, the Grange. The Grange is an historical example of a Scottish built vessel used for international and coastal trader of both cargo and passengers in the mid-19th century. The Grange is an example of an early ship, designed with a wooden hull. It is significant as a ship still available to divers along the south coast of Victoria, for research and education purposes. The Grange is an example of a mid-19th century vessel that carried a weapon of defence onboard. Ship log fitting, called a fish; part of a brass navigational instrument, likely to be from a taffrail log. The metal is a tan colour and has rough surface with a sheen, and discolouration in places. Its basic shape is a hollow cylinder with ends tapering to a smaller size. In the centre there are opposing openings cut out, showing a rough texture inside. One end on the cylinder is closed with a ring and shank installed, fixed by an embedded screw through the end of the cylinder. There are no inscriptions.flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, west coast trader, apollo bay, mid-19th century shipwreck, the grange, scottish barque, little henty reef, captain a alexander, underwater explorers club of victoria, vhr 5297, coastal trader, wooden shipwreck, john chance, wooden ship, taffrail log, marine instrument, marine technology, navigation, nautical instrument, mechanical log, nautical navigation, navigation equipment, scientific instrument, ship log, ship log register, ship speed, taff rail log, patent log, towed log, taffrail log fish, edward massey, thomas walker

Clothing. A textured weave, cotton bow, with two rectangular shapes - 9.5 cm x 6.0 cms, with a one cm loop at the centre, attached to a folded double cotton band, 2 cm x 34 cm long, which would fit under the collar of the Lodge shirt. A 1.5 cm diameter silver coloured metal loop at one end of the band, and a silver coloured hook at the opposite end of the band, would fasten the tie in position.costume, male, white cotton bow tie-lodge regalia

In the 1953, the Show held a special Coronation Show in honour of the coronation of Queen Elizabeth II.A badge consisting of a badge attached to a pin, and an oval shape hanging from the bar. The base of the badge is gold with inserted colour in the obverse. The bar is rectangular with concave sides and red infill around text ("STEWARD"). The oval has a dark blue outline with gold text and a belt-design similar to the RASV Speed the Plough Logo. Inside the outline is mostly gold. The background is textured, and on top of that is a crown design with red colouring on the 'cushioning' and "E[II]R".[obverse bar] STEWARD [obverse oval] ROYAL MELBOURNE 1953 CORONATION SHOW / ER II [reverse oval] K.G. LUKE / MELB /1953 melbourne royal show, melbourne royal show, royal melbourne coronation show, queen elizabeth ii, badge, steward, officials, uniform

Paul John Keating, Australia's 24th Prime Minister, served from 1991 to 1996. The Prime Ministers walk at Ballarat Botanical Gardens has over time created a special and unique understanding of our Prime Ministers and the strength of belief, passion and understanding we had for these leaders. The different styles used reflect the times and the techniques used to undertake these portraits of leaders makes us consider those elements of official portraiture, including textures, sizes and features and proportions used by some of the artists. The artwork is of historic and aesthetic significance to the people of BallaratBronze bust cast on granite and concrete plinth.Paul John Keating Prime Minister 1991-1996paul keating, prime minister, australian pm

John Malcolm Fraser, served as Australia's 22nd Prime Minister from 1975 to 1983. The Prime Ministers walk at Ballarat Botanical Gardens has over time created a special and unique understanding of our Prime Ministers and the strength of belief, passion and understanding we had for these leaders. The different styles used reflect the times and the techniques used to undertake these portraits of leaders makes us consider those elements of official portraiture, including textures, sizes and features and proportions used by some of the artists. The artwork is of historic and aesthetic significance to the people of BallaratBronze bust cast on granite and concrete plinth.John Malcolm Fraser Prime Minister 1975-1983malcolm fraser, prime minister, australian pm

Album is a personal collection of postcards with letters written on the back of each.Bound 'Post Card Album' dated inside 1907. Cardboard with green textured paper cover decorated with scroll and red flowers in art nouveau style. 24 green thin cardboard double sided pages, 15 with cards and photographs attached. Post Card collection sent to 'Marg' as souveniers of soldiers travels and postings around 1917/1918. Sights include Egypt, Paris, Marseille, London, Edinburgh. Mix of coloured and black and white postcards, with photographs at the back. Inside cover ' To dear Harry with love from Marjorie - July 27th, 1907'.

Collection of 57 black and white photographs of bridge and roadworks around the South Gippsland Shire 1965-1969. Includes images of several public buildings. Locations include Inverloch, Dumbalk & Meeniyan. Photographs taken by the Country Roads Board photographer. Mounted on cream textured card. Several have captions affixed. Each photograph is stamped and numbered on the reverse with the negative number used by the CRB. A prefix of 65, 67 & 69 is noted as part of the negative number which relates to the year the image was taken.

A small black self textured covered Churches of Christ Hymn book (with supplement). The title is printed in gold lettering towards the top of the front cover. The edges of the pages are faded blue. At the back of the book there is a Responsive Scripture Readings as well as Supplementary Hymns. T the front is a Preface, Contents and Index to first Lines of Hymns. Inserted inside the hymn book is a faded black and white small photograph of two boys playing on rocks near a stream. On the back of the photograph stamped in black ink - A 831.non-fictionA Churches of Christ Hymn Book (with supplement) It has the words for all the hymns included. It is an Australia Edition religious books, hymns

Vietnam eraM1 steel helmet used by the United States military from WWII to 1985. Painted textured finish light olive green. The rim edge has a crimped metal band running around it, with a rear seam. Mounted on each side of the helmet there are D shaped swiveled metal loops for a chinstrap. The adjustable chinstrap is made of olive drap coloured nylon webbing with blackened metal clips. A two pice clip system metal fastener is used to connect the two pieces of the chinstrap.On the inside of the helmet is written in black textra the name MORCOM, No 37019, and 1966-67.helmet, headgear

Annual Report - 64 pages + card covers, printed on slightly textured paper. with the MTA logo imprinted on the front cover. Has a table of contents. Dated 31/10/1989, with letter to the Minister Jim Kennan, from the Chairman John King. Managing director Kevin Shea, Board members - include Greg Rodgers representing the Union. Includes a review of the organisation, Light rail vehicles and lines, Met Plan, new bus services and priority for trams at traffic lights.trams, tramways, annual reports, the met, public transport, mta, personnel, avm, funding, buses, light rail, metplan

Report - 26 pages, stapled within textured card covers and cloth binding strip, titled "Metropolitan Transportation Study - Travel in Melbourne - A summary of the Consultants Report - Metropolitan Transportation Committee 1966". Provides a summary of the data provided by the traffic consultants - Wilbur Smith and Associates and Len T Frazer and Associates, late in 1963, looking a travel patterns in Melbourne. Includes public transport, goods movement, models economics, trip generation and general family stats. Has a table of contents and figures.trams, tramways, public transport, road transport, metropolitan transport committee, melbourne

Morrison Kleeman Real Estate sales information material for the Alistair Knox designed house known as the Zull House. "Nestled into a private hill of more than an acre of established gardens, shady ornamental gardens, shady ornamental grapesvines and gumtrees, sounds of bellbirds engulf this Alistair Knox home of special ambience. This home features the textures and colours of nature, home made Hawthorn bricks, flooirng slate from the old St Kilda baths and recycled timbers..." The property was sold Feb 26, 2004 (Source: realestateview.com.au) Knox was a pioneer in the use of mudbricks and recycled materials and is significant to his contribution of this style of architecture in Eltham and the wider Shire of Nillumbik.1 documents, 2 pages A4 gayle blackwood collection, houses, morrison kleeman real estate, metery road, eltham south, alistair knox, zull, st kilda baths

Robin WELCH ( 23 July 1936-5 December 2019) Born Nuneaton, Warwickshire, England Robin Welch is one of the most highly respected contemporary British potters. The full range of his work includes large vessels with related paintings, fine drawings, and distinctive bowls and vases which explore colour, surface texture, form, detail of edge, and line. He is one of small group of significant British potters who expanded the language of throwing pots on the wheel through post-wheel additions and alteration. This gave his generally cylindrical forms a more organic and sculptural aspect, but their heavily coloured and textured surfaces were as much about painting, too, as Robin sought an integration of the visual disciplines he enjoyed. As he once wrote: “There’s no divide between art or craft. You decide to be an artist and you’ll use anything. If marooned on a desert island you’d use driftwood.” (https://www.theguardian.com/artanddesign/2019/dec/27/robin-welch-obituary, accessed 23 March 2021) Initially studying at Penzance School of Art under Michael Leach (son of Bernard Leach) and the Central School of Art, London Robin Welch then worked part-time at the Leach Pottery between 1953 and 1959 before opening his own pottery in London's west end (1960 to 1962). After a couple of years of world travel, including working in Australia from 1962 to1965 helping Ian Sprague set up his Mungeribar Pottery and exhibiting in Melbourne, Robin Welch returned to England setting up Stadbroke Pottery in Eye, Suffolk in 1965. Apart from his studion work Robnin Welch was a skilled designer for industry including Wedgwood. When not in his Suffolk studio Robin Welch spent much time in Australia where he appreciated the outback’s arid earth, brilliant light, grittier textures and luminous colour. When not in his Suffolk studio Robin Welch spent much time in Australia where he appreciated the outback’s arid earth and brilliant light, its grittier textures and luminous colour, qualities he sought to convey in-the-round and on canvas. Apart from his studion work Robnin Welch was a skilled designer for industry including Wedgwood, Midwinter and Denby.Stoneware bowl with flange. Glazed in white matt crackle with a faint copper red tint. Dry black glazed rim. Gift of the artist.Robin Welch stamped on baseceramics, robin welch, gippsland, gppsland campus, jan feder memorial ceramics collection

Robin WELCH ( 23 July 1936-5 December 2019) Born Nuneaton, Warwickshire, England Robin Welch is one of the most highly respected contemporary British potters. The full range of his work includes large vessels with related paintings, fine drawings, and distinctive bowls and vases which explore colour, surface texture, form, detail of edge, and line. He is one of small group of significant British potters who expanded the language of throwing pots on the wheel through post-wheel additions and alteration. This gave his generally cylindrical forms a more organic and sculptural aspect, but their heavily coloured and textured surfaces were as much about painting, too, as Robin sought an integration of the visual disciplines he enjoyed. As he once wrote: “There’s no divide between art or craft. You decide to be an artist and you’ll use anything. If marooned on a desert island you’d use driftwood.” (https://www.theguardian.com/artanddesign/2019/dec/27/robin-welch-obituary, accessed 23 March 2021) Initially studying at Penzance School of Art under Michael Leach (son of Bernard Leach) and the Central School of Art, London Robin Welch then worked part-time at the Leach Pottery between 1953 and 1959 before opening his own pottery in London's west end (1960 to 1962). After a couple of years of world travel, including working in Australia from 1962 to1965 helping Ian Sprague set up his Mungeribar Pottery and exhibiting in Melbourne, Robin Welch returned to England setting up Stadbroke Pottery in Eye, Suffolk in 1965. Apart from his studion work Robnin Welch was a skilled designer for industry including Wedgwood. When not in his Suffolk studio Robin Welch spent much time in Australia where he appreciated the outback’s arid earth, brilliant light, grittier textures and luminous colour. Stoneware bowl on a tall foot. Calcium matt glaze, underglaze colour with underglaze metallic lustre. ceramic, jan feder memorial ceramics collection, robin welch, gippsland campus, mungeribar pottery, stadbroke pottery

Robin WELCH ( 23 July 1936-5 December 2019) Born Nuneaton, Warwickshire, England Robin Welch is one of the most highly respected contemporary British potters. The full range of his work includes large vessels with related paintings, fine drawings, and distinctive bowls and vases which explore colour, surface texture, form, detail of edge, and line. He is one of small group of significant British potters who expanded the language of throwing pots on the wheel through post-wheel additions and alteration. This gave his generally cylindrical forms a more organic and sculptural aspect, but their heavily coloured and textured surfaces were as much about painting, too, as Robin sought an integration of the visual disciplines he enjoyed. As he once wrote: “There’s no divide between art or craft. You decide to be an artist and you’ll use anything. If marooned on a desert island you’d use driftwood.” (https://www.theguardian.com/artanddesign/2019/dec/27/robin-welch-obituary, accessed 23 March 2021) When not in his Suffolk studio Robin Welch spent much time in Australia where he appreciated the outback’s arid earth and brilliant light, its grittier textures and luminous colour, qualities he sought to convey in-the-round and on canvas. Apart from his studion work Robnin Welch was a skilled designer for industry including Wedgwood, Midwinter and Denby. Initially studying at Penzance School of Art under Michael Leach (son of Bernard Leach) and the Central School of Art, London Robin Welch then worked part-time at the Leach Pottery between 1953 and 1959 before opening his own pottery in London's west end (1960 to 1962). After a couple of years of world travel, including working in Australia from 1962 to1965 helping Ian Sprague set up his Mungeribar Pottery and exhibiting in Melbourne, Robin Welch returned to England setting up Stadbroke Pottery in Eye, Suffolk in 1965.Stoneware bowl with split flange, glazed with matt white, black and a touch of copper red Tobin Welch stamped on basejan feder memorial ceramics collection, ceramics, robin welch, gippsland campus, jan feder

These type of marking crayons have been in use from the 1800s onward to mark commercial and non commercial goods and articles that require waterproof and visual identification labels. Items such as bales of wool, tobacco tags, transportation tags(shipping, rail and road) and other "hard to mark" items that require information to be displayed by semi permanent waterproof signage. The crayons are also an advantage for young student art work.This particular box of leviathan crayons was in use by students in the Mount Beauty Primary School through the Victorian Education Supply Department. As the texture and adhesive/application qualities (soft medium and hard) allows students to be "creative" on various type of canvases. This type of application in schools is of a non commercial and simplistic art -form nature however more advanced students could present a commercial interest in a viable creative artistic venture. The major commercial and non educational uses are encompassed in a rural grazing and farming regions, of the Kiewa Valley and adjoining lands.The crayon box is made from cardboard and light buff colour. The box contains six "No.1" crayons, two of which have been used. Each crayon is wrapped with manufacturer's details on 180 gsm thick paper. The wrapper runs nearly 4/5 th of the entire length, leaving 1/5th open to display the colour of the crayon. The colours of the crayons are blue, purple, green, yellow, red and black. These crayons provide a waterproof writing, sketching and numbering method and are available in soft, medium and hard texture.Within a chain border and on two opposite sides of the box: "1 Dozen No.1", and below this and underlined "Leviathan Marking Crayons" and below this "Indispensable for all Marking and Checking purposes Waterproof and will not rub off", below this "SUPPLIED UNDER GUARANTEE"waterproof, freehand marking and artworks, school waterproof art, commercial identification marking of rural produce, school art, waterproof labelling

This cast iron kitchen appliance was made in England in the early 1900's and shipped to the "colony" Australia. This was before World War II and the "growing up" of a colony to an independent member of "the British Commonwealth". It was a period when most appliances (be they household) where manufactured in England and shipped to Australian ports. It was not until the late 1960's that the Asian manufacturing giant woke up and started to dominate the market palce.This domestic kitchen appliance is very significant to the Kiewa Valley because it highlights the "made at home" period when food processing was made "in house" due to inability to source food from specialised shops e.g. the butcher or slaughter houses. It was a period before mass food processing factories were established and roads constructed up to the standard for distribution to semi remote regions such as Kiewa Valley was in the beginning of the 1900's.This cast iron (malleable iron) mincer for meat products has a large "funnel" to direct "chunks" of meat to the grinding "wheels". These "star" shaped wheels with "teeth" of three different cutting surfaces (fine, medium and coarse) provide for texture types of the final meat product. The meat is placed into the "loading" funnel and push downwards(gravity feed) through the mincing chamber and out through the front side. There is a long "screw worm" which is rotated by turning the handle. The appliance is table mounted by a vice "G" screw on clamp (hand operated). "BEATRICE No. 3" and "MADE IN ENGLAND", "P 3181"household cast iron appliances, food processors

The spectacles and case are an example of eyewear from the early 20th century. The case was made by Carter & Foord of Ballarat. According to the tag inside, the spectacles frame cost three pounds, three shillings and sixpence (£3.3.6). Carter & Foord was established in 1902. The firm advertised as opticians, oculists, watchmakers and jewellers. The staff repaired scientific instruments and were sole agents for the gramophone, demonstrating its advantages whenever there was an opportunity. In 1902 the business was located at 46 Lydiard Street, Ballarat. The staff in the ophthalmic department, under the care of Harold Foord, specialised in sight testing using up-to-date equipment and this service was free of charge. Customers were promised that they would be fitted with glasses guaranteed to correct the most complex sight. Mr F M Clacius performed the grinding of specific lenses. Julia Carter, Harold Foord and Clacius were all formerly from the business Carter & Warner, which had been sold to Frederick Clark around 1903 after Mr Carder passed away. Carter & Foord operated a few doors away from the former business. In 1912 advertisements in the Geelong Advertiser invited the community to visit Harold Foord, of Carter & Foord, to have their eyes examined at no charge. These spectacles are similar to others in the W.R. Angus collection, donated by the family of Dr W R Angus, surgeon and oculist. The W.R. Angus Collection spans the years 1885 to the mid-1900s and includes historical medical and surgical equipment and instruments from the doctors Edward and Thomas Ryan of Nhill, Victoria, with whom Dr Angus worked for several years. Dr Tom and his brother had worked as surgeons including in eye surgery. Dr Tom Ryan performed many of his operations in the Mira private hospital on his premises. 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. Dr Angus married Gladys in 1927 at Ballarat, the nearest big city to Nhill where he began as a Medical Assistant and had been Acting House surgeon at the Nhill hospital where their two daughters were born. Dr Angus and his family moved to Warrnambool in 1939, where Dr Angus operated his own medical practice. He later took on the part-time role of Port Medical Officer and was the last person appointed to that position. After convalescing from injury resulting from his service during WWII, Dr Angus studied ophthalmology at the Royal Melbourne Eye and Ear Hospital. He created cosmetically superior artificial eyes by pioneering the use of 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 artificial eye improvements. He had been an Honorary Consultant Ophthalmologist at Warrnambool Base Hospital for 31 years. He made monthly visits to Portland as a visiting surgeon, to perform eye surgery. Both Dr Angus and his wife were very involved in the local community, including the planning stages of the new Flagstaff Hill and the layout of the gardens there. Dr Angus passed away in March 1970.The Carter &O Foord spectacles are significant as an example of early 20th-century eyewear and fashion. They are connected to the history of regional Victoria, being made in Ballarat and purchased for local use. The spectacles are significant for being connected to the W.R. Angus Collection, which is important for still being located at the site connected to Doctor Angus, Warrnambool’s last Port Medical Officer. Dr Angus and his wife brought their young family to Warrnambool in 1938 and he remained a resident until his death in 1970. Early in his profession in the town of Nhill, Dr Angus assisted Dr Tom Ryan in his pioneering use of X-rays and in ocular surgery, and Dr Angus later inherited these items. The W.R. Angus Collection includes these medical instruments and other related equipment and is culturally and historically significant as an example of the medical practice of the late 19th to the mid-20th century. Other items in the collection relate to Dr Angus’ service in the Flying Doctor Service and the Army.Spectacles in a hard brown textured case with rounded corners and a hinged lid. The case is lined with brown velvet. The opaque yellow oval frames, raised at the outer top corners, are decorated with sparkling jewell decorations on the bridge. The arms are reinforced with metal inside. Also in the case is a pale blue cleaning cloth and a cardboard price tag with handwritten text. An inscription in gold lettering is stamped inside the case. The case was made by Carter & Foord of Ballarat. The design of the frames is called ‘ewell These spectacles are part of the W.R. Angus Collection.Stamped: “CARTER & FOORD / STURT ST BALLARAT” Handwritten label: “JEWELL / £3.3.6”flagstaff hill, warrnambool, maritime village, maritime museum, shipwreck coast, great ocean road, dr w r angus, dr roy angus, dr ryan, warrnambool oculist, port medical officer, nhill base hospital, mira hospital nhill, oculist, spectacles, eyewear, glasses, carter & foord, ballarat oculist, w.r. angus collection, ophthalmology, royal melbourne eye and ear hospital., artificial eyes, intrascleral cartilage, eye surgery

Black and white photograph. Textured paper of scene on creek, with two attractive trees at water's edge, possibly Bendigo Creek. Sheep in background. Inscriptions: on front - BR corner printed 'FT Kennedy'. On back - hand written in pencil 'Bendigo' rubber stamp 'Frank T Kennedy'. History: James Lerk 22/;6/2001 'Tom Kennedy was a Bendigo man with an interest in photography. With note 'Photographs from Mrs Ella Bourke, 131 Barnard St Bendigo. Ph 438269'. 'Photographs 'Francis (Frank) Thomas Kennedy'.Frank Tom? Kennedyplace, landscape view, see also 2001.153.01, 2001.154.01, 2001.157.01, 2001.158.01, 2001.159.01, 2001.160.01, 2001.161.01, 2001.15.162.01

Complete Macintosh laryngoscope piece with a curved large sized attached blade with light bulb and a textured handle with serrated grip for easy of use and a screw in the blade connector. The handle is also a battery deposit to supply the led light bulb. The blade has general scratches on its surface because its use. At the back of the blade is still attached the curved lamina as holder of the base with the blade in its regular use position. Several engraved and stamped inscriptions are present all over the handle and blade (see inscriptions for details). Stamped on the base of the blade, BOC Stamped on the edge of the back side blade, STAINLESS Stamped on the back side blade base, MADE IN ENGLAND Engraved at the base of the blade attachment place, MAINLAND Engraved at the edge of the serrated grip of the handle, Alfred Anaes Stamped at the base of the handle, REGD TRADE MARK / P E N L O N / MADE IN ENGLAND Stamped at the bottom of the handle base, REGD TRADE MARK / P E N L O N / MADE IN ENGLAND Engraved at the bottom of the handle base, AnaeA / ALFREDlaryngoscope, complete laryngoscope, boc, penlon, handle, alfred hospital, anaesthesia

Black & white photograph of the Ballarat Tramways Social Club taken in front of a Grenville St. office (in 1997 was the "The Pancake Kitchen" building. No date. Group of 16 people, men, women and 1 child. HP James second from Right dressed with face blackened. Other people in fancy dress, includes a person in a pram "Baby Thrives on Modern Diary Milk" written on the side. Photograph mounted onto cardboard with a grey textured face and depressed for photo. Has "Richards & Co. Ballarat" printed on bottom rh corner. On rear in Pencil "Ballarat Tramways Social Club (street procession) H.James second from Right" On rear in top left hand corner, white circle with "3" in green ink.trams, tramways, ballarat, esco, personnel, social club

Elwyn (Jack) LYNN (6 November 1917 – 22 January 1997) Born Canowindra, New South Wales Sydney based artist Elwyn Lynn was a self-taught artist who often used unconventional painting media and expressive surfaces to create abstract work. He trained as a teacher, and was a teacher of English and History in Sydney Secondary schools until 1968. From 1969 to 1983 Elwynn Lynn was Curator of the Power Gallery of Contemporary Art at Sydney University where he built up an international collection, which is now within the Sydney Museum of Contemporary Art. He was an art critic at The Australian for many years, and wrote several books, including one on the artist Sir Sidney Nolan. Elwyn Lynn was awarded Membership of the Order of Australia in 1975. He won the Wynne Prize at the Art Gallery of NSW in 1988, received an Honorary Doctor of Letters from the University of Sydney in 1969, and received the Emeritus Award from the Australia Council in 1994. 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.Framed mixed media artwork. Like most of Elwyn Lynn's work 'The' is essentially abstract, although evoking a sense of landscape. " Lynn’s heavy textures were created by mixing polyvinyl acetate (PVA) with sand, cement or plaster, after which it was left to dry in the sun or near a radiator. With the upper level drying and hardening first, its skin could be cut, sliced, poked, prodded and distressed, pushed into folds and corrugations." (https://www.charlesnodrumgallery.com.au/artists/elwyn-lynn/elwyn-lynn/, accessed 22 October 2019)art, artwork, elwyn lynn, abstract, available

Annual Report - 68 pages + card covers, printed on slightly textured paper. with the MTA logo imprinted on the front cover. Has a table of contents. Dated 31/10/1988, with letter to the Minister Jim Kennan, from the Chairman John King. Managing director Kevin Shea, Board members - Norm Maddock (part year) and Greg Rodgers representing the Union. Includes a review of the organisation, fares, various strategies, opening of the Northcote bus workshops, the AVM system, subsidiary companies and detail of finances.trams, tramways, annual reports, the met, public transport, mta, personnel, avm, funding, buses

Early settlers had to be self sufficient, growing their own vegetables, making tools and clothing and usually had a house cow to produce their milk supply. .All the buttermilk separated from the butterfat had to be rinsed out. This would improve texture and flavour, and also help the butter keep well, since milk turns rancid more quickly than fat alone. Salt was usually mixed in at this stage - for flavour and preservation. The rinsing could be done simply by washing in water, followed by draining, salting and working or "kneading" the butter with a pair of wooden butter pats, or with bare hands. c1880 A pair of wooden butter patspioneers, early settlers, market gardeners, moorabbin, brighton, bentleigh, cheltenham, milk, dairy farmers, butter pats, dairy cows

Early settlers had to be self sufficient, growing their own vegetables, making tools and clothing and usually had a house cow to produce their milk supply. .All the buttermilk separated from the butterfat had to be rinsed out. This would improve texture and flavour, and also help the butter keep well, since milk turns rancid more quickly than fat alone. Salt was usually mixed in at this stage - for flavour and preservation. The rinsing could be done simply by washing in water, followed by draining, salting and working or "kneading" the butter with a pair of wooden butter pats, or with bare hands. c1880 2 wooden butter patsearly settlers, pioneers, market gardeners, moorabbin, bentleigh, brighton, cheltenham, dairy farmers, dairy cows, milk, butter

Sandra JOHNSTONE (1936-Jan 1991) Born Southern California, USA Worked California, USA Sandra Johnstone was awarded a MA in Ceramics and an MFA in Plastic Arts at San Jose State University, where she later also lectured. Specialiing in functional and sculptural forms, with emphasis on wheel-thrown shapes and salt-glazed stoneware and porcelain, her work is best known for salt glazing, using surface texture and colour to enhance the character of the clay. Sandra Johnstone was a visiting artist to the Gippsland Centre for Art and Design (GCAD). Salt glazed platter. This work is part of the Jan Feder Memorial Ceramics Collection. Jan Feder was an alumna of the Gippsland Campus who studied ceramics on the campus. She passed away in the mid 1980s. Her student peers raised funds to buy ceramic works in her memory. They bought works from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught there."Johnstone" on basesandra johnstone, ceramics, artist, artwork, gippsland campus, jan feder memorial ceramics collection

PETER CLARKE (1935 - ) Born Deloraine, Tasmania Peter Clarke was both artist and teacher. He held 14 exhibitions between 1957 and 1977, as well as participating in a number of group exhibitions, including Contemporary Australian Painting shown in Los Angeles and San Francisco. He is best known for large colour-field works. Peter Clarke's abstract painting emphasises texture, colour and gesture. He won the George Crouch Memorial Prize in 1967 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.Framed abstract painting with an ink wash.art, artwork, peter clarke, abstract

PETER CLARKE (1935 - ) Born Deloraine, Tasmania Peter Clarke was both artist and teacher. He held 14 exhibitions between 1957 and 1977, as well as participating in a number of group exhibitions, including Contemporary Australian Painting shown in Los Angeles and San Francisco. He is best known for large colour-field works. Peter Clarke's abstract painting emphasises texture, colour and gesture. He won the George Crouch Memorial Prize in 1967 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.Abstract painting with black, red, yellow, green, blue and white predominating.art, artwork, peter clarke, clarke, abstract, colour-field

PETER CLARKE (1935 - ) Born Deloraine, Tasmania Peter Clarke was both artist and teacher. He held 14 exhibitions between 1957 and 1977, as well as participating in a number of group exhibitions, including Contemporary Australian Painting shown in Los Angeles and San Francisco. He is best known for large colour-field works. Peter Clarke's abstract painting emphasises texture, colour and gesture. He won the George Crouch Memorial Prize in 1967 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.Framed abstract drawing with wash.art, artwork, printmaking, peter clarke, mixed media, ballarat teachers' college collection, abstract

This textbook was written for engineering students by Scottish Professor, William J Goudie, D. Sc., (1868-1945). He was a member of the Institution of Mechanical Engineers, a member of the Institution of Engineers and Shipbuilders in Scotland, an Associate Member of the Institution of Civil Engineers, James Watt Chair of Mechanical Engineering, University of Glasgow, and Professor of "The Theory and practice of Heat Engines" in the University of Glasgow. He wrote several papers and books on the topics of mechanical speed and power. The publisher firm, Longmans, Green & Co., was originally founded in 1724 in London by Thomas Longman under the name Longman. In August of that year, he bought the two shops and goods of William Taylor and set up his publishing house there at 39 Paternoster Row. The shops were called Black Swan and Ship, and it is said that the 'ship' sign was the inspiration for Longman's Logo. After many changes of name and management, the firm was incorporated in 1926 as Longmans, Green & Co. Pty Ltd. The firm was acquired by Pearson in 1968 and was known as Pearson Longman or Pearson PLC. The first practical steam turbine was built in 1884 by Charles Parsons and this became the beginning of generating electricity and powering large ships. The author of Steam Turbines, Professor William John Couldie D. Sc, was a mechanical engineer who had practical experience in a marine consulting engineering service and lectured in the theory and practice of mechanical engineering.This book is an example of the development of technology that contributed to the evolution of steam turbines. The book is also significant for its connection to the publisher Longmans, Green and Co., of London, a firm that has been established for over two centuries, renowned for publishing encyclopedias, dictionaries, books on English grammar, textbooks, poetry, reference books, novels, magazines and more.Steam Turbines, by William J. Goudie, D. Sc., Second edition, rewritten and enlarged. Published by Longmans, Green & Co. in 1922. The book has a textured green hardcover with a printed black title on the front cover and a gold embossed title on the spine. The fly page describes the contents. It states the author's credentials and the book's features - 329 illustrations and numerous examples.. The logo of Longmans, Green & Co. is on the fly page. It is a line drawing of a shield above a leafy wreath border surrounding a sailing ship at sea with a plaque below. Inscriptions are on the shield and plaque.On the shield: "L & Co" [Longman Green & Co.] On the plaque: "1724" [date business was established]flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, steam turbines, longmans green and co, paternoster row london, ship logo, engineering studies, textbook, 1922, longmans green and co., l & co., 1724, institution of mechanical engineers, institution of engineers and shipbuilders scotland, institution of civil engineers, james watt professor of "the theory and practice of heat engines", thomas longman, paternoster row, william goudie, william j goudie, professor william j goudie d. sc., james watt chair of mechanical engineering, steam turbine, marine turbines, steam power