Showing 638 items matching "wood work"
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Creswick Campus Historical Collection - University of Melbourne
Document, 2010
... and the IWCS for the work done to produce wood specimens from... of Understanding between the School and the IWCS for the work done ...This is the Memorandum of Understanding between the School and the IWCS for the work done to produce wood specimens from the Dadswell wood collection off-cuts.Document -
Stawell Historical Society Inc
Memorabilia - Realia, Brass Beam Balance in Wood and Glass Case, 1940-1950
Brass Beam Balance in Wood and Glass Case used for Weighing Gold used by Shuttleworth Family who worked a Cyanide Plant at Deep Leadstawell -
Sunshine and District Historical Society Incorporated
D324 WRENCH - H. V. McKay, H. V. McKay Pty. Ltd, Early 1900's
... worked as a wood machinist. On 19 August 1914, while still... as a carpenter with Sunshine Harvester Works, where he worked as a wood ...This type of wrench or spanner was used as a service tool for H. V. McKay Pty. Ltd. manufactured agricultural machinery. This specific tool belonged to Albert (Bert) Montgomery of 11 Kamarooka St, Albion. Bert Montgomery was born in Sunshine and in 1910 was apprenticed as a carpenter with Sunshine Harvester Works, where he worked as a wood machinist. On 19 August 1914, while still an apprentice, he enlisted in the First AIF. He left McKay's and started business as a builder probably just prior to WW2. After the war he joined the Shire of Braybrook as Assistant Building Surveyor until he retired. In 1962 Bert and his friend Jack Causon (proprietor of an Anderson Road second hand store that previously was Les James grocery) were on a fishing trip to Lake Tooliorook (aka Ettrick) near Lismore, Victoria. Their boat capsized and both fishermen were drowned. Bert was a Past President of Sunshine RSL and at that time it was reported that his funeral was the largest that Sunshine had seen. The information about Bert Montgomery was supplied by a Committee member of the Sunshine & District Historical Society Inc. who spoke to Montgomery's daughter, who also donated the tool. This tool serves as a reminder of the large H. V. McKay agricultural manufacturing works that once existed in Sunshine. The tool is associated with the works, and the design is significant enough for images of the tool to be used in an artistic mural, which is painted on the Eastern Pillar of the new H. V. McKay Footbridge in Sunshine, Victoria 3020.Curved double ended rusty cast iron wrench with 4 open slots plus 2 closed slots'H V McKAY' on one side and 'D324' on the reverse sideh. v. mckay pty. ltd, d324, d324 wrench, d324 spanner, agricultural spanner, antique wrench, agricultural tool, albert montgomery, jack causon, lake tooliorook -
Sunshine and District Historical Society Incorporated
Trench Art, Stewart Noble, BULLET SPOON, Circa 1940
This piece of functional Trench Art was made by Stewart Noble during World War 2 (circa 1940) while serving on a Mine Sweeper among the Pacific Islands. It is believed that the bullet spoon was chrome plated after the war, while he worked at the Government Aircraft Factory. Trench art is described as any decorative item made by soldiers, prisoners of war, or civilians where the manufacture is directly linked to a war. The making of trench art was a popular past time during leisure hours at the front, where skilled military personnel created the items. Common examples of trench art are decorated shell and bullet casings, and items carved from wood and bone. Trench art has been in existence since the Napoleonic wars however it was most common during World War 1, and to a lesser extent during World War 2. This bullet spoon has historic significance because it is an example of the type of functional or artistic small items, that were made from war scrap during spare time by soldiers or other personnel associated with a war. This particular item indicates that a reasonably high degree of skill was required to make the bullet spoon.Chrome plated teaspoon with a discharged .303 bullet for the handle.trench art, bullet spoon, .303 bullet, stewart noble, war souvenier, chrome teaspoon -
Nillumbik Shire Council
Sculpture: Tony Trembath (b.1946 Sale, Victoria), Tony Trembath, The Fences Act 1968 - Location: Edendale Farm (entrance) 30 Gastons Road, Eltham, 1989 - 1994
Eltham Council (now the Shire of Nillumbik) commissioned this work in 1989 to create an entrance / gateway to Edendale Community Farm. It was also aided by a grant from the Ministry of the Arts (now Arts Victoria). The former name of this work was "Gateway to Edendale Farm". Edendale Farm is a demonstration farm modelling sustainable environmental practices, providing support to the local residents of Nillumbik. Established in 1986, the land was purchased in 1970. It was previously an English gentleman's residence and was used for grazing. It consists of 5.6 hectares, with the Diamond Creek meandering through the property. The Victorian Fences Act 1968 governs liability of occupiers of adjoining lands to fence, and deals with disputes between neighbours regarding boundaries fences and costs. This work took into consideration ideas and suggestions from residents and committees, who required the use of recycled materials and that the work celebrate man's relationship with nature, animals and the earth, as well as relate to the fence-line on the far side of the carpark. Trembath also absorbed significant aspects of local history, making references to Eltham's agricultural past, the clearing of the land, the destruction of trees, the ruthless pruning of trees by suburban Councils and incorporated such Australian features as the post and rail fence. 'The Fences Act 1968' is significant for aesthetic, historic and social reasons at a regional level. It makes prominent the historical and social significance of Edendale and the rural aspects of Nillumbik. The use of existing tree stumps and salt pots in the work explores the iconography of the countryside such as the isolated farmhouse, pioneering farming practices, post and rail fencing and the regrowth of lopped trees. The title of the work, as well as the extensive community involvement in its creation, also makes reference to the Victorian Fences Act 1968, which makes neighbours jointly responsible for the cost of construction and maintenance of fences in the partitioning of land for settlement. 'The Fences Act 1968' has been classified as of regional significance by the National Trust of Australia. The work is an installation of wood and metal, approximately twenty five meters long. The design is very informal and rustic and runs the full width of the fence-line. It comprises groups of recycled tree trunks fitted with metal caps (chrome-nickel 'salt pots' that are shaped like tall bowler / top hats). Metal rods protrude from the trunks and some of these rods have metal birds. Two larger, sentinel-like stumps at the two outer ends have metal flame-like wings, which bend inward. To the left of the entrance, a simple architectural element indicates an isolated farmhouse. The rustic fence runs between the groups of tree trunks with native planting in clumps along it. The fence-line incorporates a functional engineered double gate and post and rail fencing. There may be many interpretations of the work and the intention is to stimulate interest and imagination rather than alienate. Interpretation is based on the personal experience that a visitor brings. The artist recommended that no explanation of the design logic be positioned with the work. N/Apublic art, sculpture, edendale, recycled, wood, metal, fences act 1968, gate, trembath, salt pot, tree stumps -
Nillumbik Shire Council
Public Art: Susie KUMAR & Naomi KUMAR, Benchmark (Location: Conventry Oval, Elizabeth Street, Diamond Creek), 1997
1996 Nillumbik Art in Public Places Award (installed late 1997). A biennial program that ceased in 2007. The program commissioned artists to make and install public art in various sites around the Shire. Award judges that year were Tony Trembath and artist Peter D. Cole. Susie Kumar has a Bachelor of Landscape Architecture degree from RMIT and Naomi Kumar has a Bachelor of Fine Art in photography degree from VCA. The Kumar sisters designed the sixty meter gently curving bench in response to the topography of the site, Conventry Oval. The sculpture is designed to describe the boundary between the formal oval and the natural creek bank and a considered relationship to the bike track and the river. It forms a link between the activities and aesthetics of its environment. The work is a comical interpretation of the utilitarian public bench. From a distance the bright red runners (the colour of the local football team's stripe) appear to float about the surrounding green. One end of the work is straight and finished. The other remains 'unfinished' hence allowing for the concept of unlimited extension. The 'legs' (steel hurdles) are arranged with a sense of movement and rhythm in sympathy with the activities happening around the work and with the stands of trees in he background. 'Benchmark' also serves as a functional purpose; providing a choice of places to sit to watch action on the oval. Stainless steel, timber (Victorian Ash) and red enamel paint. Sixty meter long red bench that gently curves in response to Conventry Oval. Bolted on top of evenly spaced stainless steel hurdles, four rows of timber runners are joined to provide unbroken continuous lengths. The bench stands on a framed bed of crushed rock (Lilydale topping).N/Abench, sport, wood, victorian ash, stainless steel, public art, ekphrasis2017 -
Nillumbik Shire Council
Public Art: Wayne ALFRED (b.1958 Alert Bay, British Columbia), Wayne Alfred C/- High Commision of Canada, Commonwealth Games Totem Pole, Location: Eltham Library Foyer, Panther Place, Eltham, 2006
Wayne Alfred is a member of the Namgis Tribe of the Kwakwaka'wakw people. As a master carver he has an extremely high level of carving skill and knowledge about his peoples cultural objects, customs, tribal stories and legends. The Totem Poles of the North Pacific Coast in British Columbia and Alaska are traditionally carved out of red or yellow cedar, which has a spiritual and practical purpose. The wood was known for its durability, its resistance to rotting and the inner bark was utilised in ropemaking, clothing, hats, baskets and so forth. The Kwakitul People consider the cedar tree to be among the most sacred of all things provided by the Creator. They believed the Cedar tree to be the axis of the world and a pathway to the upper world. The wood is shaped using implements such as adzes, axes, chisels, carving knives, and chainsaws. Misinterpreted as Gods and idols to be worshipped, totems usually serve six purposes, such as a house pillar for support, a memorial or mortuary pole to commemorate (and house) the deceased, a potlatch pole (used for important traditional indigenous celebrations), a ridicule pole used to shame and a heraldic or family crest pole. Characters and symbols on these totem poles usually display family crests, history, wealth, social rank, inheritance, and privilege, as well as animalistic imagery derived from native animals and mythological creatures. Their sequence are indicative of past family events, ancestors, myths, and heraldic crests, with the bottom figure usually being the most prominent. In this work the 'thunderbird' is symbolic of power, strength and of ancestory. The Commonwealth Games Totem Pole was presented to the people of Nillumbik on behalf of the Canadian Government in recognition of Melbourne as the hosts of the Melbourne Commonwealth Games Team in 2006. Carved in cedar wood, this totem pole incorporates bold cuts and colours (such as red and green) offset by strong black. A relative degree of realism is used to depict the alligator located on the bottom of the pole, a man and a 'thunderbird'/eagle located on the top. With protuding element. No inscriptions. Bold cuts used to outline the characters and symbols as well as decorative and stylised features all over the pole. public art, kwakwaka'wakw, namgis, alfred, north pacific coast, british columbia, canada, totem pole, carved, commonwealth games, melbourne festival, cedar -
Nillumbik Shire Council
Sculpture: Anthony PRYOR (b.1951- d.1991 Melb, AUS), Paretaio, 1985
In the early 1970s, Arthur Boyd bought and restored a large, two-storey traditional farmhouse called Il Paretaio. Situated on the crest of a hill and surrounded by fields and olive groves, it is five kilometres from the village of Palaia in the province of Pisa, Tuscany. Boyd established this farmhouse as a residency programme, (which was later managed by the Australia Council). The residency program ended in 1990. Anthony Pryor undertook an Australia Council residency at Paretaio in 1984. This work is one in a series made during his time there. This work was entered into the Shire of Eltham Art Award in 1985.Pryor is an artist of national significance. This work is an example of his series of 'boxes' made principally for his own pleasure and often swapped with artists and other friends as soon as they were finished. The 'box' series was part inspired by Japanese techniques of wooden construction. Pryor first visited Japan in 1975 and was immediately drawn to Japanese methods of working with stone and wood. Many of these boxes are based upon the principles of the Japanese Zen Buddhist monk Sengai Gibon (1750-1838). This work relates to Sengai's famous hanging scroll Circle, Triangle and Square in which the circle can be read to stand for the cosmos, the square for the individual, and the triangle for aspiration. A heavy, box-like (cube) structure created from huon pine, with bronze, brass and stone elements. Within the cube is an eastern inspired, rear lattice wall in combination with bronze domestic fittings, and symbols (cube, pyramid and circle). Metal lightning, clouds and wooden rainbow hover over an asymmetrical bronze bed floating within the cube. A chair leans and a tilting ladder reaches towards the sky. Stamped into wood: lower right 'ANTHONY PRYOR PARETAIO'huon pine, pryor, brass, bronze, stone, cube, paretaio, italy, eastern, japan, sengai gibon, symbols, zen buddhism, sculpture, personal -
Nillumbik Shire Council
Print (woodcut and etching on chine-colle): John WOLSELEY (b.1938 Somerset, UK; arrived 1976 Melb., AUS), John Wolseley, 'Life world of the Longicorn beetle' from the 'Baldessin & Friends commemorative folio', 2016
Painter, printmaker and installation artist John Wolseley was born in Somerset, England. He lived and worked throughout Europe before relocating to Australia in 1976. His work explores how people dwell and move within landscape. Wolseley see's himself as a hybrid mix of artist and scientist; one who tries to relate the minutiae of the natural world - leaf, feather and beetle wing - to the abstract dimensions of the earth's dynamic systems. Using techniques of watercolour, collage, frottage, nature printing and other methods of direct physical or kinetic contact Wolseley finds ways of collaborating with the actual plants, birds, trees, rocks and earth of a particular place. George Baldessin was one of the first artists John Wolseley met when he arrived in Australia in 1976. Both immigrated to Australia and connected through this shared experience. They were both at 'Realities Gallery' with Marianne Baillieu in the 1970s and 80s. George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971 with his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George. 'Life world of the Longicorn beetle' is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. Communion and collaboration with nature are central to Wolseley's practice. He assembles different drawing methods to represent a kind of inventory or document about the state of the earth. His interest is to paint the processes and energy field of the living systems of this land. 'Life world of the Longicorn beetle' is his continued exploration of Australia's natural eco-systems. The beetle attacks the eucalypt and in the process of tunnelling into the wood of the tree leaves scribbly patterns. The work celebrates the cycle of life, and the wisdom and delicacy of these creatures. This three dimensional work consisting of three layers of paper is a varied edition, offering just the slightest difference between each print, reflective of variation in nature. The found log used as a woodcut acknowledges the interconnectedness of nature and living beings; the log is not apart from the art and the beetle has become an active artistic collaborator. An intimate and layered print of a tree log with line trails from the Longicorn beetle. Patches of pink, yellow and orange watercolour placed randomly. Woodcut from found log and etching on chine-colle with water colour on Gampi (top layer), Mulberry (middle layer) and Arches (bottom layer) paper. In pencil (handwritten): low plate: left '14/25' (edition); centre 'Life world of the Longicorn beetle' (title); right 'John Wolseley' (signature); low paper: right emboss 'GB' (Baldessin Press & Studio monogram)woodcut, etching, chine-colle, landscape, environment, longicorn beetle, print, baldessin, ekphrasis2018, eco, mixed media -
National Wool Museum
Bale Hook, 1900-1980
The bale hooks were used on the Dennys Lascelles building's show floor by the donor's father Maurice Dalton. Maurice was the foreman of the show floor of the Dennys Lacscelles building until his retirement after 34 years with the company and also worked as a wool classer in rural Victoria and New South Wales.Wood handle with curved rusted metal hock ending in a sharp point. One Hook is plain but longer. One hook is shorter and has inscription M.DALTON. on each side of handle. Third hook is much shorter, has dual hooks and a shaped handle.Handle of bale hook. Mirrored. Wording: M.Dalton. -
Stawell Historical Society Inc
Photograph, Baptist Church Manse in Scallan Street
Baptist Manse beside the church in Scallan Street Stawell. The handwritten sign out the front is hard to decipher. Black & white photo of a brick single story building beside the church with wood and wire fence. The sign out the front is difficult to read from the photo, but words we can work out are ".... Designed & Erected by The Stawell ...... Plaster .... Inspection Invited Estimates Submitted for plastering cement work". "... Designed & Erected by The Stawell ...... Plaster... Inspection Invited Estimates Submitted for plastering cement work".stawell, religion -
Stawell Historical Society Inc
Realia, Fossil's
Alan Tangey returned with them after working as a survey technician from Stawell area and given to children.Reputed to be Fossilised Eggs and 8 Pieces of wood, also 1 piece of Fossilsed Coral. Probably Fossilised Plant Roots Formed by Cementing Around Roots by minerals such as Calcium. Coral may have come from coastal survey work or holidays. fossils, children -
Koorie Heritage Trust
Booklet, Barrett, Charles et al, Blackfellows of Australia, 1936
Contents: The Aboriginal Environment - Birds and Reptiles; Whence came the Blackfellow. The Natural Man - Tattooing: ornamental scars. The Tribes of the South - Down the Darling. Tribes of Central and Northern Australia - The Aruntas; Wilderness vanishing; Untamed Tribes.The Tasmanian Race - Doomed people.Tribal Organisation - Public opinion; The Council of Old Men; Tribal Classification; Tribal Naming; Dual Classes; Totemism.Daily life of the Blacks - Making fire; Cooking methods - the native oven; Vegetarian diet; Miscellaneous foods. Weapons and Implements - Classes of Stone; Quarries; Weapons of wood - spears; The Boomerang; Shields; Water vessels and Carriers; Baskets and Dilly-bags.Medicine-men and medicine - Faith cures; Rain-making. Mia-Mias, Whurlies and Gunyahs - Tripod fires; Two-storey huts. The Aboriginal as an Engineer - Weirs and fish traps; Wells and Rockholes. Wild White Men; Dances and Games - Children's toys. Black Police and Tracking - Tribal Mixture; The Blacktrackers; Trained from infancy. Navigation - The Bark Canoe - Calm-weather Craft. Aboriginal Art - Animal Tracks; Old Camp-fires. Blackfellow Music and Bards; Death and Burial - Wailing Women; Relics of Lost Tribes; Decorated skulls; Creation myth pole. Language - Letter-sticks. Myths and Legends; Mission work among the Blacks - Spheres of Service; The Mission Stations.43 p. : ill. ; 28 cm.Contents: The Aboriginal Environment - Birds and Reptiles; Whence came the Blackfellow. The Natural Man - Tattooing: ornamental scars. The Tribes of the South - Down the Darling. Tribes of Central and Northern Australia - The Aruntas; Wilderness vanishing; Untamed Tribes.The Tasmanian Race - Doomed people.Tribal Organisation - Public opinion; The Council of Old Men; Tribal Classification; Tribal Naming; Dual Classes; Totemism.Daily life of the Blacks - Making fire; Cooking methods - the native oven; Vegetarian diet; Miscellaneous foods. Weapons and Implements - Classes of Stone; Quarries; Weapons of wood - spears; The Boomerang; Shields; Water vessels and Carriers; Baskets and Dilly-bags.Medicine-men and medicine - Faith cures; Rain-making. Mia-Mias, Whurlies and Gunyahs - Tripod fires; Two-storey huts. The Aboriginal as an Engineer - Weirs and fish traps; Wells and Rockholes. Wild White Men; Dances and Games - Children's toys. Black Police and Tracking - Tribal Mixture; The Blacktrackers; Trained from infancy. Navigation - The Bark Canoe - Calm-weather Craft. Aboriginal Art - Animal Tracks; Old Camp-fires. Blackfellow Music and Bards; Death and Burial - Wailing Women; Relics of Lost Tribes; Decorated skulls; Creation myth pole. Language - Letter-sticks. Myths and Legends; Mission work among the Blacks - Spheres of Service; The Mission Stations.aboriginals, australian - social life and customs -
Latrobe Regional Gallery
Print, SCHELL, Frederick B. b. c.1838 d.1905, Wilson's Promontory, c. 1890
Wood engraving. Not an original work. Signed with monogram lower right corner of image 'S.F' (stylised). Lower right area within image, word 'Echen'. Not dated. -
Latrobe Regional Gallery
Work on paper - Print, JONES, Timothy b. 1962 North Wales, arr. Australia 1984, Gippsland, 1985
... " Wood engraving Gippsland Work on paper Print JONES, Timothy b ...Wood engravingSigned and dated bottom right beneath printed image, "Jones 85" Edition and title in lower left corner "A/P Gibsland" -
Latrobe Regional Gallery
Work on paper - Print, JONES, Timothy b. 1962 North Wales, arr. Australia 1984, Gippland (sic), 1984
... composition, A/P "Gippland" Wood engraving Gippland (sic) Work ...Wood engravingSigned and dated lower right corner below printed image "Tim Jones 1984". Edition and title to the lower left below composition, A/P "Gippland" -
National Wool Museum
Functional object - Wool Winder, pre. 1950
Originating from Scotland pre-1950, this wool winder is ornately decorated featuring a male figure at its peak and a cherub at its base. Wool Winders are practical objects typically with minimal decoration; however, Wool Winders with ornate design features do exist. Scrimshaw (whale ivory) was a popular choice of material in the 18th and 19th century. It is smooth, preventing yarn from getting caught when unwinding, as well as having artistic beauty. Wool winders require a heavy base, as to not topple over when in use. It is popular to decorate these bases on more elaborate winders, such as shown in this example. The bows featured to tie the wood segments together is another feature of more elaborate models of wool winders, also highlighted in this example. This winder began life in the possession of Annie Crawford. The Crawford name has a strong connection with the town of Paisley, Scotland, and its Woollen Mills. The Crawford name can be seen working at the Woollen Mills in the 1851 Scotland Census, with Robert and his brother’s James and John working as Wool dyers. Their father Alexander also worked as a Loom Weaver. The winder immigrated with Annie when she, her husband and 3 children travelled to Australia, ready to start a new life. Most of their possessions were left behind in Scotland. This winder accompanied the family on their journey; so it stands to reason that the winder was special to them. Annie Crawford passed the winder onto her eldest daughter Joan Crawford. Joan did not have any children and so she passed the winder onto the eldest female grandchild, Fiona Crawford. Fiona Crawford continued the connection of the Crawford name with textiles, with an exhibition titled "When you go looking for me, I am not there". Utilising medieval embroidery tradition of ‘Punto Assisi, the exhibition was a reflection on the lack of women recorded in history, particularly their contribution to the domestic arts. Her work investigates both the absence of women while also honouring the unknown female makers of this now highly desired art. The Wool Winder was donated to the National Wool Museum in 2021 by Dianne Crawford, the sister of Fiona Crawford. Umbrella swift style wool winder made of metal, wood, and ribbon. Decorated at its highest point with a sculpted man standing on one leg, holding what is perhaps a rolled newspaper as though he may be bidding at an auction. Or perhaps he is holding a hank of wool. The man stands upon a three-tier platform of decreasing size and design which leads to the central metal shaft. At the base, the winder is decorated with an engraved cherub. Both figures have a small hole in one of their hands, indicating that they originally held something. Unfortunately, it is not known what this is. From the central metal shaft, this winder has 2 rows of 6 arms radiating out. These arms cross in the middle to form an X. These arms are also connected horizontally with additional arms which cross. This all forms an intricate web design, tied together with ribbon. The size of the web these arms create is adjustable, to accommodate yarns of different length. Beneath the second row of arms is a locking screw which holds this row at the desired height and width. This entire top section, beginning at the central metal shaft, can be unscrewed from its base for easier storage. The base begins in a wooden circular shape growing into a smaller ornately designed raise on which the cherub sits. From the head of the cherub the central metal shaft begins.paisley, scotland, wool winder, immigration -
Northern District School of Nursing. Managed by Bendigo Historical Society Inc.
Photograph - Nurses with Tutor and Skeleton, 1964
The Northern District School of Nursing opened in 1950 to address the issues around nurse recruitment, training and education that had previously been hospital based. The residential school was to provide theoretical and in-house education and practical training over three years. The students would also receive practical hands-on training in the wards of associated hospitals. The Northern District School of Nursing operated from Lister House, Rowan Street, Bendigo. It was the first independent school of nursing in Victoria and continued until it closed in 1989.Nurses with Tutor and Skeleton, schools 64 and 63. Two photos of Six nurses and Tutor Jack Hutley (with stick) standing around a skeleton. Behind them are body charts and props. On rear of Photos the nurses names are written, however their position in the photos are difficult to work out: Schools 63 and 64, Tutor Jack Hutley, Nurses R. L.Heath, B. L. Abbott, J. M. Wood, P. A. Tuohey, Denise O'Sullivan, Lyn Heath, Northern District School of Nursing, 37 Rowan Street Bendigo. BCV8 Bendigonurse training, ndsn, lister house, school 63, school 64, jack hutly -
Unions Ballarat
'A bit of a rebel' : the life and work of George Arnold Wood, Crawford, RM, 1975
... 'A bit of a rebel' : the life and work of George Arnold...' : the life and work of George Arnold Wood Crawford, RM ...George Arnold Wood (1865-1928) was an historian who founded the Australian Anti-War League in 1902 with W.A. Holman and others. He also co-founded the Teachers' Guild of NSW. Biographical. Significant to the history of the Boer War, Teachers' Guild of NSW and Wood's research into Australian history.Paper; book. Front cover: orange background; black and white caricature of George Arnold Wood on the front; black text.Front cover: author's name and title.george arnold wood, historians, australian anti-war league, w.a. holman, teachers' guild of nsw, btlc, ballarat trades hall, ballarat trades and labour council, boer war, australian history, crawford, raymond maxwell, crawford, rm -
Ballarat Heritage Services
Ceramic - Artwork - Ceramics, Pottery Vase by Mark Reid
Mark REID Mark Reid began working with clay in the early 1980s, working for a time at Kairi Pottery in North Queensland. In 1985, he and his wife Robyn set up the Torvil Pottery at Buninyong, Victoria. In 1991, they relocated to a 10 acre property in nearby Magpie and set up the Ballarat Clayfire Gallery with a working studio, gallery and residence. In 2005, the Clayfire Gallery was located to Daylesford. Reid signs his work with an incised 'Mark Reid' or 'MR'. Photograph of a hand thrown ceramic vase. australian landscape pottery, gilbert buchanan, graham wood, landscape, redbyrne pottery, ceramics, shepparton, torvil pottery, ballarat clayfire gallery -
Ballarat Heritage Services
Photograph - Colour, Clare Gervasoni, Begonia Conservatory in the Wombat Botanical Gardens, Daylesford, 2019, 23/04/2019
Daylesford's begonia collection was stared by French born curator W. Gascoigne in 1885. He was an experienced horticulturalist. The plants were grown again in the 1930s in a new glasshouse. Curator Bill Greville obtained 45 plants from the Ballarat City Council, 30 from Queens Park in Essendon, and soon haad 250 tubers including a (lost) one named 'Daylesford'. When Alf Headland was appointed part-time caretaker in 1956, he found tw tubers in the wood shed and became expert in their cultivation. He continuted well into his retirement when Greg Rae too over. In 1988 the conservotory was named to honur Alf Headland's work.Hot house in the Wombat Gardens with a Begonia display.wombat botanical gardens, daylesford botanical gardens, daylesford, trees, begonia, begonia house, begonia conservatory -
Unions Ballarat
Workmen's time book: Woodward mill 1939 (Don Woodward collection), Don Woodward, 1939
The mill known as Woodward Timber Products commenced business in 1937 and closed in 2002, employing up to 40 people at one time. Don Woodward worked at the mill for over 50 years. During its time of operation the mill processed wood from both Creswick and the Wombat State Forest.Local/Ballarat industrial history. Workplace practices.Paper.btlc, ballarat trades hall, ballarat trades and labour council, industry - ballarat sawmills, woodward, don, workplace practices - time records, woodward timber products -
Whitehorse Historical Society Inc.
Photograph, CSR Masonite Fabricators Pty Ltd, Mitcham, 1961
In the mid 1950's Masonite built a hard board plant at Eildon but the process could not be made to work satisfactorily on the eucalypt woods available. CSR took over the Masonite Corporation in 1959, closing down it Eildon plant and constructing plants at Bacchus Marsh and Mitcham which began producing in 1961. With the development of particledboard manufacture in the 1960's the fibreboard industry declined. Not known when the Mitcham site was closed down,Black and white photocopy of CSR Masonite Fabricators building in Mitcham. Flag flying at left.csr masonite fabricators pty ltd -
Numurkah & District Historical Society
Carpentry Tools & Storage Box
These carpentry items were owned and used by Archibald (Mick) Blackley, a local long-time resident of Numurkah. Born 1912 in Numurkah, Mick was the son of Archibald (Senior) and Grace Blackley, also residents of Numurkah. Archie Senior was a carter, horse-breaker, conducted a livery stable and worked at Brown Corke & Co for a number of years. Archie also served in the Veterinary Corps in WW1. Some of the tools donated belonged to Archie Senior eg wooden hand planes. Mick Blackley used his dad’s tools (and also added some of his own) when he worked in various carpentry jobs during the 1930’s and 1940’s. One particular carpentry job was during the depression when Mick relocated to the Wonthaggi State Coal Mines building stables for the horses, and also completing some building works inside the mines. Returning to Numurkah, Mick joined a Mr Murray as carpenter and painter to build and repair houses. He then joined another builder for 4 years (We think this was Jim Tuttle). Mick then went on to work at the Butter Factory (originally called Holdenson & Nielsen) where some of his carpentry skills were still used. Item list: • Wooden box for carpentry tools • 1 x steel pliers • 2 x wooden hand planes • 1 x tin snips • 1 x wooden spirit level in canvas bag • 1 x small wooden spirit level • 5 x wooden handled hand-saws • 1 x wooden handled right- angle square • 1 x wooden handled tenon-saw • 1 x steel plumbers wrench • 1 x wooden handled hedge-clippers • 1 x cloth & leather measuring tape • 1 x wooden mallet • 1 x narrow wooden plane • 1 x plastic handled hand-saw • 1 x plane blade sharpening stone • 1 x brace hand drill • 1 x compass for marking wood • 1 x cold chisel • 1 x set of various chisels and hand drill bits in a canvas bag • 1 x steel sike • Various other drill bits, chisels, files • 1 x wooden handled trowel • • 2 x steel garden secateurs • carpentry, building, wood, tools, planes, levels, chisels, hammers, saws, drills, drill bits -
Tennis Australia
Racquet, Circa 1875
An early wooden lawn tennis racquet, with: tilt-top head; solid convex throat; and, a leather collar.The racquet features a customised handle, with intricate inlay work on both faces. On the obverse are inlays comprising of what may be two lavender buds. On the reverse is a decorative design incorporating the initials 'ESA'. Materials: Wood, Lacquer, Glue, Metal, Gut, Leathertennis -
South Gippsland Shire Council
Framed oil painting, McDonalds Property Toora, 1983
Painted by Bianca Biesuz in 1983 The art work features cattle and trees in the foreground and Wilson's Promotory in the distance. Brown wood frame with gold edging. -
Melbourne Legacy
Document - Memoir, Life and Times of a Melbourne Legacy Junior Legatee (Arthur Woodley). A Legacy Family Story, 1990
First hand account by Arthur Woodley of his time with Melbourne Legacy as a Junior Legatee and its influence on his life. He was a boy that stayed at the children's home, Holmbush in the 1940s. It has a foreword written by Legatee F H Wood who was involved with the residences committee. The introduction says the purpose of the following story, written in plain simple terms, is to put on record for Legacy, the life, times, achievements, and experiences of just one grateful Junior Legatee.An authentic description of what it was like to be a Junior Legatee in a Melbourne Legacy residence, exemplifying the work of Melbourne Legacy in the 1940s.White A4 with black type x 26 pages and an A5 handwritten memo on Melbourne Legacy letterhead.JL 13, Box 10, Arthur Woodley Author, Nov 1990residences, junior legatee, holmbush, arthur woodley -
Melbourne Legacy
Photograph, Operation Firewood
Photograph of a truck of firewood delivering wood for Operation Firewood, where firewood was delivered to widows. From a black and white photo (00765) taken that day the men standing on the truck are Legatee Ken Markey from Cobram/Yarrawonga and Legatee Jack Gunn from Melbourne. Legacy provided this service for many years, with the help of Linfox who provided the trucks. In the June 1995 edition of The Answer Melbourne Legacy thanked the Cobram/Yarrawonga Group for their help in supplying and cutting the wood. In 1996 it was announced the scheme had ended.A record of work undertaken to support Legacy widows.Colour photo of two legatees on a truck of firewood.operation firewood, widows -
Ballarat Tramway Museum
Administrative record - Log book, Diary, John Andrew & Co, 1957
Yields information about the track maintenance activities of the track gang in Ballarat, the work they did, notes, names and other information.1958 Woods' Australian Diary, No. 21, 3 days on a page, John Andrew and Co. red Rexene binding, card covers, sewn sections with ruled sheets providing a diary for 1958. Has "useful information" sheets at from the diary, including a ruler along the side of the sheet. Used by the SEC Ballarat track gang to record their daily work, leave, welding, track cleaning, truck driver etc Rear pages - has notes on materials used and a list of Track gang for 1958. (December Cash Account) E. A. Goldsmith W. H. Goldsmith E. J. Davis G. McQuinn H. Hoy A. W. Cunningham N. McVitty C. Edwards E. Lakey H. Lancaster S. Chibnall H. Smith Loose contents 21/7/1958 - SEC Safety Officers Newsletter, Feb. 1958 - inside has notes and sketches where joints welded and the dates. Inside rear cover - Daily time sheet - with the addresses of the track gang on the rear. - list of materials - rails by type and sleepers on hand - Reg Item 3705 - Rules Governing Depot Employees with notes and sketches where joints welded and the dates on the rear. (Item to be stored in a separate envelope - note was folded in half and stored in the rear section)tram, trams, sec, ballarat, depot, trackwork, rails -
Ballarat Tramway Museum
Functional Object - Rubber Stamp, State Electricity Commission of Victoria (SECV), "SUNDAY", 1960's
... Rubber stamp and wood stamp base with plastic handle... worked or was rostered to work. Has a strong association ...Demonstrates aspects of Ballarat's Tramway operations by the SEC in noting the days a person worked or was rostered to work. Has a strong association with the SEC and tram operations in Ballarat.Rubber stamp and wood stamp base with plastic handle or holder for stamping rosters and/or time sheets with the word "SUNDAY" to indicate when a person was rostered or worked a Sunday. Red wood stamp holder or base and black plastic handle with drawing pin to indicate the top of the stamp. trams, tramways, sec, rosters, times, crews