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Eltham District Historical Society Inc
Photo album, Entrance of the new Eltham Library from the front community display space, 1994, 1994
Library Development The library building has been designed to reflect its parkland setting. External features include: the roof which includes interesting aspects when viewed from Main Road; verandahs which provide ramp access and give a sheltered entrance to the building; walls which feature locally-made mudbricks, conventional bricks and copper panels; and space for an outdoor courtyard/reading area which will be developed later. Internally there are a number of features. The building includes a foyer with a fireplace suitable for displays including artwork; a community multi-purpose room suitable for meetings or functions and an outdoor cafeteria. The ceilings are lined with Victorian Ash. The shapes for the ceiling give a free flowing form to the building. Brush Box has been used for the circulation and information desks. The tree trunk columns are Grey lronbark from New South Wales. Arches and and various-shaped windows add interest to the internal structure. The carpet design reflects the Eltham environment and compliments the natural colours and timbers used in the building. Tiles by artist Felix Bosari feature in the building and additional art by local artists will be added externally and internally to the building. The library floor area is approximately 1200 sq metres and houses a collection of 50,000 items. The community multi-purpose room, foyer and community display area totals approximately 300 sq metres. These areas will be available to the community for such events a~ meetings, displays, classes, functions and art exhibitions. The Toy Library and Adult Literacy Group will also be based in the new complex. The value of works/services and fittings/ furniture is $3,040,000 Project Team Project Director: John Stamp, Director - Major Projects Project Manager: Noel Mcinnes, Noel Mcinnes Project Management Pty Ltd Architects: Gregory Burgess and Peter Ryan, Gregory Burgess Pty Ltd Site Foreman - Building Works: John Mantel Site Foreman - Site Works and Foundations: Steven White, Shire of Eltham Surveyor: Gregory Slater, Shire of Eltham Builder: Shire of ElthamPhoto album of the new Eltham Library presented to the Society by Cr R.J. Manuell, Chairperson Eltham Library Redevelopment Special Committee, 28 Nov 1994 in recognition of the efforts and contribution made by the Shire of Eltham Historical Society to the construction of the Eltham Library complex.Black faux leather album cover, black pages, brass corners and screws, 10 page inserts separated by tissue, 12 photos and information sheets stuck to pages.eltham, eltham library, panther place, shire of eltham, yarra plenty regional library -
Eltham District Historical Society Inc
Photo album, Entrance of the new Eltham Library from the front community display space, 1994, 1994
Library Development The library building has been designed to reflect its parkland setting. External features include: the roof which includes interesting aspects when viewed from Main Road; verandahs which provide ramp access and give a sheltered entrance to the building; walls which feature locally-made mudbricks, conventional bricks and copper panels; and space for an outdoor courtyard/reading area which will be developed later. Internally there are a number of features. The building includes a foyer with a fireplace suitable for displays including artwork; a community multi-purpose room suitable for meetings or functions and an outdoor cafeteria. The ceilings are lined with Victorian Ash. The shapes for the ceiling give a free flowing form to the building. Brush Box has been used for the circulation and information desks. The tree trunk columns are Grey lronbark from New South Wales. Arches and and various-shaped windows add interest to the internal structure. The carpet design reflects the Eltham environment and compliments the natural colours and timbers used in the building. Tiles by artist Felix Bosari feature in the building and additional art by local artists will be added externally and internally to the building. The library floor area is approximately 1200 sq metres and houses a collection of 50,000 items. The community multi-purpose room, foyer and community display area totals approximately 300 sq metres. These areas will be available to the community for such events a~ meetings, displays, classes, functions and art exhibitions. The Toy Library and Adult Literacy Group will also be based in the new complex. The value of works/services and fittings/ furniture is $3,040,000 Project Team Project Director: John Stamp, Director - Major Projects Project Manager: Noel Mcinnes, Noel Mcinnes Project Management Pty Ltd Architects: Gregory Burgess and Peter Ryan, Gregory Burgess Pty Ltd Site Foreman - Building Works: John Mantel Site Foreman - Site Works and Foundations: Steven White, Shire of Eltham Surveyor: Gregory Slater, Shire of Eltham Builder: Shire of ElthamPhoto album of the new Eltham Library presented to the Society by Cr R.J. Manuell, Chairperson Eltham Library Redevelopment Special Committee, 28 Nov 1994 in recognition of the efforts and contribution made by the Shire of Eltham Historical Society to the construction of the Eltham Library complex.Black faux leather album cover, black pages, brass corners and screws, 10 page inserts separated by tissue, 12 photos and information sheets stuck to pages.eltham, eltham library, panther place, shire of eltham, yarra plenty regional library -
Eltham District Historical Society Inc
Photo album, Interior view of the new Eltham Library, 1994, 1994
Library Development The library building has been designed to reflect its parkland setting. External features include: the roof which includes interesting aspects when viewed from Main Road; verandahs which provide ramp access and give a sheltered entrance to the building; walls which feature locally-made mudbricks, conventional bricks and copper panels; and space for an outdoor courtyard/reading area which will be developed later. Internally there are a number of features. The building includes a foyer with a fireplace suitable for displays including artwork; a community multi-purpose room suitable for meetings or functions and an outdoor cafeteria. The ceilings are lined with Victorian Ash. The shapes for the ceiling give a free flowing form to the building. Brush Box has been used for the circulation and information desks. The tree trunk columns are Grey lronbark from New South Wales. Arches and and various-shaped windows add interest to the internal structure. The carpet design reflects the Eltham environment and compliments the natural colours and timbers used in the building. Tiles by artist Felix Bosari feature in the building and additional art by local artists will be added externally and internally to the building. The library floor area is approximately 1200 sq metres and houses a collection of 50,000 items. The community multi-purpose room, foyer and community display area totals approximately 300 sq metres. These areas will be available to the community for such events a~ meetings, displays, classes, functions and art exhibitions. The Toy Library and Adult Literacy Group will also be based in the new complex. The value of works/services and fittings/ furniture is $3,040,000 Project Team Project Director: John Stamp, Director - Major Projects Project Manager: Noel Mcinnes, Noel Mcinnes Project Management Pty Ltd Architects: Gregory Burgess and Peter Ryan, Gregory Burgess Pty Ltd Site Foreman - Building Works: John Mantel Site Foreman - Site Works and Foundations: Steven White, Shire of Eltham Surveyor: Gregory Slater, Shire of Eltham Builder: Shire of ElthamPhoto album of the new Eltham Library presented to the Society by Cr R.J. Manuell, Chairperson Eltham Library Redevelopment Special Committee, 28 Nov 1994 in recognition of the efforts and contribution made by the Shire of Eltham Historical Society to the construction of the Eltham Library complex.Black faux leather album cover, black pages, brass corners and screws, 10 page inserts separated by tissue, 12 photos and information sheets stuck to pages.eltham, eltham library, panther place, shire of eltham, yarra plenty regional library -
Eltham District Historical Society Inc
Photo album, Interior view of the new Eltham Library, 1994, 1994
Library Development The library building has been designed to reflect its parkland setting. External features include: the roof which includes interesting aspects when viewed from Main Road; verandahs which provide ramp access and give a sheltered entrance to the building; walls which feature locally-made mudbricks, conventional bricks and copper panels; and space for an outdoor courtyard/reading area which will be developed later. Internally there are a number of features. The building includes a foyer with a fireplace suitable for displays including artwork; a community multi-purpose room suitable for meetings or functions and an outdoor cafeteria. The ceilings are lined with Victorian Ash. The shapes for the ceiling give a free flowing form to the building. Brush Box has been used for the circulation and information desks. The tree trunk columns are Grey lronbark from New South Wales. Arches and and various-shaped windows add interest to the internal structure. The carpet design reflects the Eltham environment and compliments the natural colours and timbers used in the building. Tiles by artist Felix Bosari feature in the building and additional art by local artists will be added externally and internally to the building. The library floor area is approximately 1200 sq metres and houses a collection of 50,000 items. The community multi-purpose room, foyer and community display area totals approximately 300 sq metres. These areas will be available to the community for such events a~ meetings, displays, classes, functions and art exhibitions. The Toy Library and Adult Literacy Group will also be based in the new complex. The value of works/services and fittings/ furniture is $3,040,000 Project Team Project Director: John Stamp, Director - Major Projects Project Manager: Noel Mcinnes, Noel Mcinnes Project Management Pty Ltd Architects: Gregory Burgess and Peter Ryan, Gregory Burgess Pty Ltd Site Foreman - Building Works: John Mantel Site Foreman - Site Works and Foundations: Steven White, Shire of Eltham Surveyor: Gregory Slater, Shire of Eltham Builder: Shire of ElthamPhoto album of the new Eltham Library presented to the Society by Cr R.J. Manuell, Chairperson Eltham Library Redevelopment Special Committee, 28 Nov 1994 in recognition of the efforts and contribution made by the Shire of Eltham Historical Society to the construction of the Eltham Library complex.Black faux leather album cover, black pages, brass corners and screws, 10 page inserts separated by tissue, 12 photos and information sheets stuck to pages.eltham, eltham library, panther place, shire of eltham, yarra plenty regional library -
Eltham District Historical Society Inc
Photo album, Interior view of the new Eltham Library, 1994, 1994
Library Development The library building has been designed to reflect its parkland setting. External features include: the roof which includes interesting aspects when viewed from Main Road; verandahs which provide ramp access and give a sheltered entrance to the building; walls which feature locally-made mudbricks, conventional bricks and copper panels; and space for an outdoor courtyard/reading area which will be developed later. Internally there are a number of features. The building includes a foyer with a fireplace suitable for displays including artwork; a community multi-purpose room suitable for meetings or functions and an outdoor cafeteria. The ceilings are lined with Victorian Ash. The shapes for the ceiling give a free flowing form to the building. Brush Box has been used for the circulation and information desks. The tree trunk columns are Grey lronbark from New South Wales. Arches and and various-shaped windows add interest to the internal structure. The carpet design reflects the Eltham environment and compliments the natural colours and timbers used in the building. Tiles by artist Felix Bosari feature in the building and additional art by local artists will be added externally and internally to the building. The library floor area is approximately 1200 sq metres and houses a collection of 50,000 items. The community multi-purpose room, foyer and community display area totals approximately 300 sq metres. These areas will be available to the community for such events a~ meetings, displays, classes, functions and art exhibitions. The Toy Library and Adult Literacy Group will also be based in the new complex. The value of works/services and fittings/ furniture is $3,040,000 Project Team Project Director: John Stamp, Director - Major Projects Project Manager: Noel Mcinnes, Noel Mcinnes Project Management Pty Ltd Architects: Gregory Burgess and Peter Ryan, Gregory Burgess Pty Ltd Site Foreman - Building Works: John Mantel Site Foreman - Site Works and Foundations: Steven White, Shire of Eltham Surveyor: Gregory Slater, Shire of Eltham Builder: Shire of ElthamPhoto album of the new Eltham Library presented to the Society by Cr R.J. Manuell, Chairperson Eltham Library Redevelopment Special Committee, 28 Nov 1994 in recognition of the efforts and contribution made by the Shire of Eltham Historical Society to the construction of the Eltham Library complex.Black faux leather album cover, black pages, brass corners and screws, 10 page inserts separated by tissue, 12 photos and information sheets stuck to pages.eltham, eltham library, panther place, shire of eltham, yarra plenty regional library -
Flagstaff Hill Maritime Museum and Village
Document, 21/10/1805
This document is a reproduction of the page of the log book from the vessel HMS Euryalus, recording Nelson's famous signal at the Battle of Trafalgar. On October 21, 1805, Admiral Lord Nelson led the British Navy to victory against the French and Spanish navies in the Atlantic Ocean. The event became known as the Battle of Trafalgar. To commence the battle Nelson commanded his now-famous flag signal “England expects that every man will do his duty”. Nelson’s signal was transmitted from his ship HMS Victory in 12 separate flag-hoists, according to Sir Home Popham’s Telegraphic Code that had been supplied to the fleet as an experiment, with the numerical flags of the Admiralty official Day Signal book (1799 issue). The signal flags comprised eight that represented whole words and four that represented single letters - [ENGLAND] [EXPECTS] [THAT] [EVERY] [MAN] [WILL] [DO] [HIS] [D] [U] [T] [Y]. Nelson’s signal was received by the ‘reporting frigates’ who would then send them on to the other vessels. The signal was recorded by Captain Henry Blackwood who was in command of the HMS Euryalus. Captain Blackwood led a squadron of frigates, reporting back to Nelson on the movement of the French and Spanish fleets. Nelson’s famous signal was recorded in the log book of Euryalus and repeated to other vessels. The original log book is a canvas-backed manuscript written up from hour to hour during the battle. It is in the Nelson Collection at Lloyd's. Lloyd’s of London is a large insurance company in the United Kingdom. In 1803 Lloyd’s founded the Lloyd’s Patriotic Fund to honour the brave and provide for the wounded and dependents of those killed in major Napoleonic battles. Over the years Lloyd’s has accumulated an assorted collection of artefacts and memorabilia associated with Nelson, including this log book from HMS Euryalus. In 2003 Lloyds created a temporary exhibition to mark the bicentennial of Nelson’s Battle of Trafalgar. The display included key items from the Nelson Collection celebrating Nelson’s role in British Naval History. Lloyd’s now has a department called The Nelson Collection and Heritage Floor where historical artifacts are displayed and the story of Lloyd’s 300 years of history is told. This document, being a reproduction, is not significant in itself. However it's content is of historical significance for its connection to Admiral Nelson and The Battle of Trafalgar. Through the leadership and victory of Nelson, the British obtained the mastery of the seas over the French and Spanish and opened up the way for Britain to colonise many countries including Australia. The document is also associated with a wood sample from Napoleon's ship Victory that is in our Collection.Reproduction of a page of the log book of HMS Euryalus recording Nelson's famous signal at the Battle of Trafalgar. The original log book entry was handwritten, dated 21 Oct 1805.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, log book, flag signal, hms euryalus, nelson's famous signal, battle of trafalgar, october 21, 1805, admiral lord nelson, french and spanish navies, england expects that every man will do his duty, hms victory, sir home popham’s telegraphic code, admiralty official day signal book (1799 issue), reporting frigates, captain henry blackwood, canvas-backed manuscript, nelson collection at lloyd's, lloyd’s of london, lloyd’s patriotic fund, napoleonic battles, british naval history -
Churchill Island Heritage Farm
Functional object - Lister Stationary Petrol Engine Serial No. 31805, Lister Stationary Engine
Robert Ashton Lister was born in England in 1845 into an industrial family. After attending the Paris Exhibition in 1867, Robert argued with his father and formed the R.A. Lister Company to produce agricultural machinery at his factory in Dursley, England. In 1889 he linked his machine with Pederson’s cream separator which now ran at a consistent speed due to a spinning centrifugal separator thus producing consistency of cream. It was marketed through the Commonwealth and Robert himself drove right across Alberta in Canada with horse and buggy to promote the machine. He also expanded the use of his machine to sheep shearing. In 1909 the Company acquired the rights to manufacture petrol driven engines. When World War 1 began in 1914 the Company focused on producing petrol engines, lighting plants and munitions for the War Department, the workforce was mainly female as the men enlisted and left for the Front. After the War, Robert Lister retired, and the Company was taken over by his grandsons Robert, Frank, George and Percy with A.E.Mellerup. Their father Charles represented the Company in North America and Europe. Foreign competition and over supply of second-hand ex-military engines and lighting sets saw profits drop but the Company managed to recover under the leadership of Managing Director Percy. In 1929 the Company designed the CS (cold start) diesel engine producing 6-7kW which became known as the Lister 9-1. The engines were all painted the same shade of Brunswick green. By 1936 Lister was producing a wide range of petrol and diesel engines most of which were small at 1.5 to 3 horsepower. These could be bought ‘stand-alone’ or powering a complementary range of pumps, churns, cream separators, auto-trucks, generating plant and sheep shearing equipment. The most successful was the D Type Lister introduced in 1937 most of which were rated at 1.5hp at 700rpm. More than 250,000 were sold up to 1964 and although RA Lister ceased production many years ago, hundreds of these engines are still in use today.Green Lister stationary engine with petrol engine Size 71J, 3 HP, 450 RPM painted Brunswick Green. Used to power pump or similar purpose. The engine was made in1928, Dursley, UKfarm machinery, churchill island, engine, stationary engine, lister -
Churchill Island Heritage Farm
Functional object - Lister stationary engine
Robert Ashton Lister was born in England in 1845 into an industrial family. After attending the Paris Exhibition in 1867, Robert argued with his father and formed the R.A. Lister Company to produce agricultural machinery at his factory in Dursley, England. In 1889 he linked his machine with Pederson’s cream separator which now ran at a consistent speed due to a spinning centrifugal separator thus producing consistency of cream. It was marketed through the Commonwealth and Robert himself drove right across Alberta in Canada with horse and buggy to promote the machine. He also expanded the use of his machine to sheep shearing. In 1909 the Company acquired the rights to manufacture petrol driven engines. When World War 1 began in 1914 the Company focused on producing petrol engines, lighting plants and munitions for the War Department, the workforce was mainly female as the men enlisted and left for the Front. After the War, Robert Lister retired, and the Company was taken over by his grandsons Robert, Frank, George and Percy with A.E.Mellerup. Their father Charles represented the Company in North America and Europe. Foreign competition and over supply of second-hand ex-military engines and lighting sets saw profits drop but the Company managed to recover under the leadership of Managing Director Percy. In 1929 the Company designed the CS (cold start) diesel engine producing 6-7kW which became known as the Lister 9-1. The engines were all painted the same shade of Brunswick green. By 1936 Lister was producing a wide range of petrol and diesel engines most of which were small at 1.5 to 3 horsepower. These could be bought ‘stand-alone’ or powering a complementary range of pumps, churns, cream separators, auto-trucks, generating plant and sheep shearing equipment. The most successful was the D Type Lister introduced in 1937 most of which were rated at 1.5hp at 700rpm. More than 250,000 were sold up to 1964 and although RA Lister ceased production many years ago, hundreds of these engines are still in use today.Green Lister Stationary Petrol Engine Serial No. 16268. It is the smaller of two Lister engines in collection. It was made in 1924, Dursley, UK. The two engines in the collection are petrol engines from the 1920s predating the more numerous diesel engines manufactured from 1920 on.farm machinery, stationary engine, machine driven, belt driven -
Tatura Irrigation & Wartime Camps Museum
Folio, Camp 3
Material collected and donated Material relating to Camp 3 and the Internees from Palestine. Sketch map of Camp 3 Memorium to Dieter Ruff, former Head of the Temple Society. Photo of steam passenger train at Rushworth Station. Various group photos. Copy of sketch of hut by Winkler. "in the Internment Camp Tatura" by K.M. Pfander Copy of talk given to her former pupils by Gudrun Gollong, in 1978. Poem written in Camp by Annie Lorenz. Poem by unknown writer "Life's Daily Routine" Interview with Babette Kirsch. Copy of children's learning book in German. Photos of toys and craft made for Kaltenbach family. Copy of Kaltenbach barracks by Cesare Vagarini. Story of Wilhelm Kuebler. Photos of wooden boxes made for Sgt. Cubbin. Copy of letter in German confirming the death in Camp of the two Stuerzenhofecker children. Copy of records Theo Stoll. School records Waltraud Doster Copy of Marriage Certificate Vollmer/Zollinger, August 1946. Recollections of Private Ashworth, guard at Camp 3. Photo taken 2001 by John Wepner of pump which supplied water to Camps 3 & 4 from No. 9 channel. Sketch of canoe made in camp from a sheep drinking trough by the Haering family. "From the Holy Land to the Home of the Kangaroo", by Hedwig Schnerring, translated by Peter Hornung, donor- Guenther Schnerring. "The Long Arm of the Third Reich" by Christine Winter. Photocopied extract of Walter Odorich Stenner's diary account of the transportation from Haifa to Australia. Research - Tatura WW2 Internment Camp 3, Annie Leschen Copy of map showing pump sites for water for Camps 3 and 4 Copy (laser) of a painting donated by Frieder Vollmer, artist "D 1943"? Adalbert Stern, Sir Nicholas - Son of Dunera boy "Adalbert Stern Copies of photos (4) of 2 cakes of Lux soap with pictures of "Roll Call, Tatura 1941" on one side and "Lux Toilet Soap" on the other Newspaper Article from "The Age" 14/04/1999 re Vagarini Exhibition Camp 3TaturaBlack 3 ring folder with printed matter and photos in plastic sleeves.documents, reports -
Ringwood and District Historical Society
Book, Educational Media Services, Victoria College et al, Prelude to Heidelberg - The Artists' Camp at Box Hill, 1991
Image of a Tom Roberts painting on front of soft covered book titled The Artists' Camp at Box Hill - Eleanor Finlay, Marjorie MorganFOREWORD by William Dargie Kt., C.B.E., FRSA (London) FRAS (NSW) As one born between two worlds I find it difficult to identify wholly with either Australian art of the late 19th and early 20th centuries or the infinitely varied styles of today. At the beginning of the 1930s, when I first began to take any sort of interest in art, I had the natural feeling of youth that anything that had happened thirty to forty years ago was already far down the dark and backward abysm of time. As for today, all that one of my generation can do is to enjoy what is enjoyable and avert one's eyes and close one's ears against the rest. This is the time of life one realizes that distaste, as well as taste can be cultivated. Well, youth repeats itself in each generation and among the young there will always be .some determined and dedicated to the making of new images of the physical world. All artists throughout history have shared this common experience. All have remembered the suddenly-formed friendships, the sketching expeditions and camps, the first exhibitions, the formation of groups, the 'manifestos' - these last to return in later life all too often as embarrassments - but above all, the enthusiasm. 'Bliss was it in that dawn to be alive but to be young was very heaven'. Thus we can be time-travellers back one hundred and six years to that first plein-air camp set up by Roberts, McCubbin and Abrahams on part of David Houston's property at Box Hill. This was indeed the prelude to all that followed: Mentone and the meeting with the young Streeton painting on the rocks, and Heidelberg later. -
Bendigo Historical Society Inc.
Document - BENDIGO ART GALLERY, BENDIGO ART SOCIETY, 10 October, 1926
Bendigo Art Gallery, Bendigo Art Society. President: Hon. R H S Abbot, M.L.C., F.R.S.A. Eleventh Exhibition, in the Bendigo Art Gallery, View Street. October 10th to 31st, 1926. Hon. Treas.: C E Bulley. Catalogue Price 6d. The President, Officers, and Committee of the Bendigo Art Society express their pleasure in presenting the representative collection embodied in this Exhibition. Mr John Shirlow, the noted etcher has been good enough to get together a fine showing of works from eminent artists, who have kindly exhibited with a disire to help the Society and to encourage the local artists. The patronage and help of our citizens is earnestly solicited. Fee, for exhibiting or ordinary membership, only 5/- per annum. Should you care to join, the executive officers will only be too pleased to give any information and to receive subscriptions. Joint Hon. Secs.: J Hudspeth, V E Greenhalgh. Fine Art Section. Arists names: Elma Roach, Ida F Knox, H J Honeybone, Edith H Moore, M A Hope, Lady Barrett, G E Parker, D Hinchcliffe, Aileen R Dent, J Hudspeth, J Florence MacGregor, Madge Freeman, C E Bulley, Merle Bulley, Ethel f Crook, L M Sheridan, C G Dunlop, Ena Smith, William H oliver, E Phillips Fox, Ethel Carrick, H Septimus Power, David Davies, Norman Davies, Norman W Penrose, Margaret McCloud, Josephine Van Damme, M E Coverdale, Marion Jones,R W Bugg, L Rowe, Lucy C Newell, Claire Colgan, Charles G Stewart, Alice Newell, V E Greenhalgh, Violet Hambly. Display of Hand-Painted China: H W Tilley, M Jacobs, W McKie, A E Collier, Hilda Veale, Elma Curnow, Jean Cahill, Frank Vaughan. Collection of Australian Art: W D Knox, Esther Paterson, Dora L Wilson, A M E Bale, E F Hooton, John Rowell, Horah Gurdon, Louis McCubbin. Section A (Outdoor Study, any subject, any medium.) Members only: C G Duinlop, J Florence MacGregor, Merle Bulley, William H Oliver, Norman W Penrose. Section B Student's Section. Drawing or Design. Pupils of Schools: Stanley R Millott, Joyce Ranson, Ronald William Forbes, Dorothy Clemens, Lilian J White, Ruby A I Welch, Nancy R Hudspeth, J Honey Church, J G Graham, Ivo Steel. Section C Student's Section. Applied Art. Pupols of Art Schools: Florrie Spencer, Joyce Ranson, Ronald W Forbes, Dorothy Clemens, Lilian J White, Ruby A I Welch, Nancy R Hudspeth, Jean Honeychurch, Annie I Paterson, Isabel Blake, Beatrice Lee, Garnet Capper, Gwen Osborne, Dorothy Olds, Marjorie Crossman, Doris Shaw, Phyllis Paul, Amy Bolton. Section D Plant Form From Nature (Pulils of Schools in Bedigo Inspectorate), North Bendigo: Alan Styles, Ronald Wright, Agnes R Styles, Jean Woodman. Creek View S.S. Beryl Butcher, Grace Gerguson, Ruth Cheatley, Elmore S.S.: George Read, Hazel Farnsworth, Lorna Washington, Keith Gow, Jean Oliver, Robbie Dick. Wanalta S.S. Mary Brown, Dorothy Nelson, Isobel Roberts, Kenneth McKenzie, Frank Brown. Barnedown S.S.: Elsie Read, George Cahill, Maud Nicholas, Leonard Robbins, Benjamin Robbins. Gravel Hill S.S.: Gladys Bamford, Jean Wright, Jean Hosking, Nancy Honeychurch, Norman McLean, Norman Guy, Agnes Stilwell. Violet St S.S.: Alma Worth, G McConville, Harry Elliot. Various Schools: Wm. Hyslop, Ruby Robertson, Hilda Parkinson, Maud O'Connor, Archie L Walker, Hedley Leggo, Jan O Hoy, Edith Cheatley, John Tatchell, Jean Barell, Keith Ashcroft, John Mueller, J Howe, Eric Cohen, Alice Glover, Ivy Morphett, Allen V Horne, Yin On, R W Moon. 2 Copies of catalogue. Black print, 12 pages made up of 3 sheets of paper with 2 staples in centre.Boltons Print, Bendigoevent, exhibition, bendigo art society, bendigo art gallery, bendigo art society. president: hon. r h s abbot, m.l.c., f.r.s.a. eleventh exhibition, in the bendigo art gallery, view street. october 10th to 31st, 1926. hon. treas.: c e bulley. catalogue price 6d. the president, officers, and committee of the bendigo art society express their pleasure in presenting the representative collection embodied in this exhibition. mr john shirlow, the noted etcher has been good enough to ger together a fine showing of works from eminent artists, who have kindly exhibited with a disire to help the society and to encourage the local artists. the patronage and help of our citizens is earnestly solicited. fee, for exhibiting or ordinary membership, only 5/- per annum. should you care to join, the executive officers will only be too pleased to give any information and to receive subscriptions. joint hon. secs.: j hudspeth, v e greenhalgh. fine art section. arists names: elma roach, ida f knox, h j honeybone, edith h moore, m a hope, lady barrett, g e parker, d hinchcliffe, aileen r dent, j hudspeth, j florence macgregor, madge freeman, c e bulley, merle bulley, ethel f crook, l m sheridan, c g dunlop, ena smith, william h oliver, e phillips fox, ethel carrick, h septimus power, david davies, norman davies, norman w penrose, margaret mccloud, josephine van damme, m e coverdale, marion jones, r w bugg, l rowe, lucy c newell, claire colgan, charles g stewart, alice newell, v e greenhalgh, violet hambly. display of hand-painted china: h w tilley, m jacobs, w mckie, a e collier, hilda veale, elma curnow, jean cahill, frank vaughan. collection of australian art: w d knox, esther paterson, dora l wilson, a m e bale, e f hooton, john rowell, horah gurdon, louis mccubbin. section a (outdoor study, any subject, any medium.) members only: c g duinlop, j florence macgregor, merle bulley, william h oliver, norman w penrose. section b student's section. drawing or design. pupils of schools: stanley r millott, joyce ranson, ronald william forbes, dorothy clemens, lilian j white, ruby a i welch, nancy r hudspeth, j honey church, j g graham, ivo steel. section c student's section. applied art. pupols of art schools: florrie spencer, joyce ranson, ronald w forbes, dorothy clemens, lilian j white, ruby a i welch, nancy r hudspeth, jean honeychurch, annie i paterson, isabel blake, beatrice lee, garnet capper, gwen osborne, dorothy olds, marjorie crossman, doris shaw, phyllis paul, amy bolton. section d plant form from nature (pulils of schools in bedigo inspectorate), north bendigo: alan styles, ronald wright, agnes r styles, jean woodman. creek view s.s. beryl butcher, grace gerguson, ruth cheatley, elmore s.s.: george read, hazel farnsworth, lorna washington, keith gow, jean oliver, robbie dick. wanalta s.s. mary brown, dorothy nelson, isobel roberts, kenneth mckenzie, frank brown. barnedown s.s.: elsie read, george cahill, maud nicholas, leonard robbins, benjamin robbins. gravel hill s.s.: gladys bamford, jean wright, jean hosking, nancy honeychurch, norman mclean, norman guy, agnes stilwell. violet st s.s.: alma worth, g mcconville, harry elliot. various schools: wm. hyslop, ruby robertson, hilda parkinson, maud o'connor, archie l walker, hedley leggo, jan o hoy, edith cheatley, john tatchell, jean barell, keith ashcroft, john mueller, j howe, eric cohen, alice glover, ivy morphett, allen v horne, yin on, r w moon. 2 copies of catalogue. black print, 12 pages made up of 3 sheets of paper with 2 staples in centre. -
The Beechworth Burke Museum
Animal specimen - Ural Owl, Trustees of the Australian Museum, 1860-1880
Ural Owls are one of the largest nocturnal birds of prey and are distributed across Northern hemisphere land masses from Scandinavia in the west, across Russia and China to Japan in the east. They average between 500-640mm in length, have large ears, a very long tail, and wing spans up to 1340mm. Ural Owls display reverse sexual dimorphism. They have a range of calls and sounds that vary between regions and among subspecies. Ural Owls prefer mature primary forest habitats that are not too dense, but adapt to a range of environments, including damp heathland and high elevation mountain forests. The species is considered nocturnal but may be more correctly described as ‘cathemeral’, due to frequent daylight activity in the taiga zone. Ural Owls are non-migratory and highly territorial. They prefer to hunt from a perch into open areas of forest, seeking small mammal prey, such as voles, as well as birds, amphibians, and invertebrates. Ural Owls have a broad, rounded head and a well-developed round facial disc with a small V-shaped indentation. They tend to be plain greyish-brown to whitish overall, though some subspecies display darker colour variation. The underparts are pale cream to grey-brown and boldly overlaid with dark brown streaking. Ural Owls lack the richer colour tones of other Strix owls. Their flight style gives the appearance of a large bird. The eyes are dark brown and relatively small, and the bill is yellowish. Tarsi and toes are feathered grey and the talons are yellowish brown with darker tips. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century. This Ural Owl is an average sized specimen with a broad, rounded head and characteristic V-shaped facial marking between the eyes. Overall plumage is plain and consistent in colour and pattern, with white, brown and grey streaks. The eyes are large and the bill is small and yellow. This specimen stands on a wooden perch with identification tags attached to its leg.Swing tag: Strix noctua / Athene noctua, [illegible] / near leiden / 26 Mai 1860. / Holland / Other tag: N38 / Strix noctua / Holland. / Metal tag: 4062 /taxidermy, taxidermy mount, burke museum, australian museum, owls, birds of prey, heart-shaped faced owl, nocturnal birds, predator birds, carnivore, territorial owl, animalia, large owl, long-tailed owls, ural mountains, taiga zone owls, cathemeral, monogamous, iucn red list, strix, wood owl, attacking owl, long-tailed owl, large-eared owl, owls with facial disc -
The Beechworth Burke Museum
Animal specimen - Bassian Thrush, Trustees of the Australian Museum, 1860-1880
The habitat of the Bassian Thrush includes leaf littered and canopied gullies and dense forests. It forages for food on the ground eating small invertebrates and nests in tree stumps and tree forks. Primarily found in Tasmania, South Australia and Queensland, there are three sub-species of thrush, Zoothera lunulata cuneate (Queensland), Zoothera lunulata halmaturina (South Australian and Western Bassian Thrushes) and Zoothera lunulata lunulata/Zoothera lunulata macrorhyncha (South East Australia, Queensland, Victoria and Tasmania). Because this bird is a ground foraging species, the main threat to the Bassian Thrush is the ground clearing of its habitat, and unfortunately, the South Australian Zoothera lunulata halmaturina sub-species is considered vulnerable because of the bush fires that have eliminated much of its habitat, especially on Kangaroo Island. While the overall structure of this particular representation of a Bassian Thrush is relatively accurate, some of the smaller details are lacking. The eyes within this particular specimen are not accurate. Instead of solid black eyes, this specimen has golden/yellow eyes with black pupils. Another inaccuracy is some inappropriate intrusions coming from the beak (most noticeable in the left and right close up images). From the photographs, it is unclear if this is a representative/presentation choice or a condition problem caused overtime. Unfortunately, several aging problems have also occurred over time, with the bird’s feathers fading (Bassian Thrushes have distinct dark brown and black and white scalloped plumage) and the beak which was probably once dark grey has faded to the under colour, a yellowy cream. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.The Bassian Thrush has white and black scalloped plumage on its underbelly with caramel, soft brown and black tipped scalloped plumage on its back. This soft brown continues onto the bird’s head and neck. The thrush has a white rim around the glass black eyes. When seen in flight, there is also a noticeable wide band across the underside of the wings which is not visible on this specimen due to its particular stance.Swing tag appears to read: ‘46a [the a is superscripted] / Mountain Thrush. / See Catalogue, Page 16. / The number in the top centre of the wooden perch reads '63'taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, bassian thrush, zoothera lunulata, white's thrush, ground thrush, scaly thrush -
The Beechworth Burke Museum
Animal specimen - Nankeen Kestrel, Trustees of the Australian Museum, 1860-1880
The Nankeen Kestrel is native to New Guinea, Indonesia and Australia, mostly mainland Australia and its coastline islands, but is occasionally seen in Tasmania and New Zealand. Seen in pairs, individually or in flocks of up to 30 birds, the kestrel’s numbers are considered ‘secure’. A non-migratory bird, the Nankeen kestrel is similar to other species of kestrel in appearance, (often being mistaken for other varieties), and is universally one of the smallest kestrels, comparable to the size of a pigeon. The kestrel’s diet consists of small reptiles and amphibians, insects and small birds, mammals and rodents. Rather than speed, this particular species of kestrel hunts by hovering and using wing suspension, one of the only two types of kestrels to do so. Fascinatingly, the kestrel’s wings have adapted to reduce turbulence. Their nesting places vary, depending on what is available and they may choose to use/recycle other birds’ old, unused nests. Nankeen Kestrels prefer to inhabit temperate grasslands, open woodlands and farmland. The contextual comparison of this taxidermy mount to live Nankeen Kestrels is a complex one. As discussed in the description, traditionally, Nankeen Kestrels have soft speckled and ochre red outer plumage with dark brown feathers at the tips of their wings and lighter greyish plumage on their head. This particular specimen however, has none of these defining features, but rather, seems to have more similarities with other hawk and falcon species, such as the Common Buzzard. Contextually, the choice of artificial eyes are slightly more enlarged than is seen on the species in the wild, and the top of the specimen’s head has been ruffed up, whereas for most of this species, their head plumage is smooth. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.One of the smaller falcon species, the Nankeen Kestrel is a slender bird of prey with dark brown speckles on soft ochre red outer plumage and dark brown feathers at its wing tips. It has lighter greyish plumage on its head with a small curved beak and yellow around its eyes and beak. Its tail reflects the same ochre colour of its outer plumage and is tipped with bands of dark brown/black and cream.Identification swing tag with catalogue page number reads: 4. / Nankeen Kestrel - / See Catalogue,/ Page 2. /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, falconidae, falco cenchroides, nankeen kestrel, australian kestrel, birds of prey, kestrels -
Flagstaff Hill Maritime Museum and Village
Functional object - Light Bracket, Before 1878
This pressed brass artefact is a highly decorative side bracket for distancing a gas lamp flame from the internal wall of a building. It is hollow and made of light gauge metal, with an innovative aesthetic design, but no internal piping to transport gas. It was recovered from the wreck of the LOCH ARD. There are similar artefacts in the Flagstaff Hill collection. The LOCH ARD left Gravesend (London) on 2 March 1878, bound for Melbourne, with a crew of 37, 17 passengers, and a diverse and valuable cargo of manufactured goods, luxury items, and refined metal. Some of the cargo was destined for display at Melbourne’s first International Exhibition in 1880. At 3 am, 1 June 1878, the ship was wrecked against the high limestone cliffs of Mutton Bird Island on Victoria’s south west coast near Port Campbell. Only two people survived the disaster — Tom Pearce, a male crew member, and Eva Carmichael, a female passenger. The cargo proved too difficult to salvage in the vessel’s exposed condition and was largely written off. The manifest of goods in the LOCH ARD’s holds included “Fittings gas (4 cases)”. The gas lighting of streets, public buildings, and the dwellings of wealthier private citizens was already well-advanced in the cities and major towns of the Australian colonies. In 1841 Sydney was the first to be gas-lit with 23 street lamps, 106 hotel lamps, and 200 private residences connected to the Darlinghurst “gasometer” by an underground network of metal pipes. “The dim days of oil and tallow are gone by!” pronounced one newspaper, flushed with civic pride. The 1850s Gold Rush promoted a similar attitude of confidence and affluence in the Colony of Victoria. In 1855 Melbourne was connected to its own system of subterranean gas pipes despite the same high rates of 25 shillings per 1000 cubic feet being charged, (reduced to 15 shillings in 1865 with cheaper sources of coal). By1858 Kyneton had its own gasworks to light the town (fuelled by eucalyptus leaves) and Geelong followed suit in 1860. Had the LOCH ARD reached its intended destination in 1878, it is probable that the 4 cases of brass gas light fittings on board would have found a ready market.The LOCH ARD shipwreck is of State significance — Victorian Heritage Register S417. The gas light bracket is an example of lamp fittings and plumbing from the late 19th century.A pressed brass lighting bracket recovered from the wreck of the LOCH ARD. It would be used for attaching, but simultaneously offsetting, a gas nozzle to a wall. Highly decorative in an unusually ‘modern’ or ‘art-deco’ style, with sweeping curves dissected by angular geometric pattern, and supporting a short, vertical bar with a gas nozzle on top. It is constructed of light gauge metal, with splitting along seams, and some delicate tracery is missing. Outer surface has been polished, removing sediment, but greenish oxidation remains in dents and joins. warrnambool, shipwreck coast, flagstaff hill, shipwrecked coast, flagstaff hill maritime village, flagstaff hill maritime museum, shipwreck artefact, maritime museum, gas lamps, gas lighting, gas works, brass fittings, gas pipes, loch ard, 1878 shipwreck, victorian affluence, colonial gas lighting -
Flagstaff Hill Maritime Museum and Village
Functional object - Gas Fitting, Before 1878
The artefact is a short cross-section of part of a functional part of a brass fitting that suspended a gas lamp, providing structural support, and internally, supplying the gas for its ignition. It combines elegant design with the elements required for safe and efficient delivery of gas. It was recovered from the LOCH ARD shipwreck site. There are similar artefacts in the Flagstaff Hill collection. The LOCH ARD left Gravesend (London) on 2 March 1878, bound for Melbourne, with a crew of 37, 17 passengers, and a diverse and valuable cargo of manufactured goods, luxury items, and refined metal. Some of the cargo was intended for Melbourne’s first International Exhibition to be held in 1880. At 3 am, 1 June 1878, the ship was wrecked against the high limestone cliffs of Mutton Bird Island on Victoria’s south west coast near Port Campbell. Only two people survived the disaster — Tom Pearce, a male crew member, and Eva Carmichael, a female passenger. The cargo proved too difficult to salvage in the vessel’s exposed condition and was largely written off. The manifest of goods in the LOCH ARD’s holds included “Fittings gas (4 cases)”. The gas lighting of streets, public buildings, and the dwellings of wealthier private citizens, was already well advanced in the cities and major towns of the Australian colonies. In 1841 Sydney was the first to be gas lit with 23 street lamps, 106 hotel lamps, and 200 private residences connected to the Darlinghurst “gasometer” by an underground network of metal pipes. “The dim days of oil and tallow are gone by!” pronounced one newspaper, flushed with civic pride. The 1850s Gold Rush promoted a similar attitude of confidence and affluence in the Colony of Victoria. In 1855 Melbourne was connected to its own system of subterranean gas pipes despite the same high rates of 25 shillings per 1000 cubic feet being charged, (reduced to 15 shillings in 1865 with cheaper sources of coal). By1858 Kyneton had its own gasworks to light the town (fuelled by eucalyptus leaves) and Geelong followed suit in 1860. Had the LOCH ARD reached its intended destination in 1878, it is probable that the 4 cases of brass gas light fittings on board would have found a ready market.The gas fitting is significant for its association with the LOCH ARD shipwreck, which is of State significance and is listed on the Victorian Heritage Register S417. The fitting is an example of a late 19th-century plumbing and light fitting.A pressed brass gas light fitting, recovered from the wreck of the LOCH ARD. The elegant and functional fitting extends from an ornate 8cm diameter ceiling flange, and comprises two short lengths of fluted column pipe with a brass joiner that are severed (cut off) at the end. Within this decorative outer layer of 3cm diameter is a full length brass tube liner, which is in turn protecting a narrow 0.75cm copper gas pipe that also runs full length. The artefact is generally unrestored with reddish/cream sandstone concretion, but is in good condition.warrnambool, shipwreck coast, flagstaff hill, shipwrecked coast, flagstaff hill maritime village, flagstaff hill maritime museum, shipwreck artefact, maritime museum, gas lamps, gas lighting, gas works, brass fittings, gas pipes, loch ard, 1878 shipwreck, victorian affluence, colonial gas lighting -
Flagstaff Hill Maritime Museum and Village
Functional object - Pipe Fitting, Before 1878
This artefact is a functional, non-decorative fitting that essentially transports gas from a wall attachment to a lamp. It is a brass and copper gas lamp fitting, designed to direct and control the flow of gas from a flanged wall fitting to an exit nozzle that was lit. It was raised from the LOCH ARD shipwreck site by Flagstaff Hill divers in 1972. Related pieces can be found in the Maritime Village collection. The LOCH ARD left Gravesend (London) on 2 March 1878, bound for Melbourne, with a crew of 37, 17 passengers, and a diverse and valuable cargo of manufactured goods, luxury items, and refined metal; some of which was to be on show at Melbourne’s first International Exhibition in 1880. At 3 am, 1 June 1878, the ship was wrecked against the high limestone cliffs of Mutton Bird Island on Victoria’s southwest coast near Port Campbell. Only two people survived the disaster — Tom Pearce, a male crew member, and Eva Carmichael, a female passenger. The cargo proved too difficult to salvage in the vessel’s exposed condition and was largely written off. The manifest of goods in the LOCH ARD’s holds included “Fittings gas (4 cases)”. The gas lighting of streets, public buildings, and the dwellings of wealthier private citizens were already well-advanced in the cities and major towns of the Australian colonies. In 1841 Sydney was the first to be gas-lit with 23 street lamps, 106 hotel lamps, and 200 private residences connected to the Darlinghurst “gasometer” by an underground network of metal pipes. “The dim days of oil and tallow are gone by!” pronounced one newspaper, flushed with civic pride. The 1850s Gold Rush promoted a similar attitude of confidence and affluence in the Colony of Victoria. In 1855 Melbourne was connected to its system of subterranean gas pipes despite the same high rates of 25 shillings per 1000 cubic feet being charged, (reduced to 15 shillings in 1865 with cheaper sources of coal). By1858 Kyneton had its gasworks to light the town (fuelled by eucalyptus leaves) and Geelong followed suit in 1860. Had the LOCH ARD reached its intended destination in 1878, the four cases of brass gas light fittings on board would probably have found a ready market.The LOCH ARD shipwreck is of State significance — Victorian Heritage Register S417. Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. This pipe is a gas lamp fitting. This extensively corroded fitting is made of brass and copper alloy. It comprises a 31 cm copper pipe of 1.5cm diameter which is connected to a 6.5cm diameter wall flange (via a flow tap and an adjustable swivel valve) at one end, and to a screw-in square coupling with a nozzle or gas jet at the other end. The copper pipe is dented and corroded and has three holes. The brass attachments are a more robust cast metal but the adjustable mechanisms are concreted into immobility by ocean sediment. No discernible maker’s marks. In unrestored but fair condition. The pipe with the fitting was recovered from the wreck of the LOCH ARD.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, gas lamps, gas lighting, gas works, brass fittings, gas pipes, loch ard, 1878 shipwreck, victorian affluence, colonial gas lighting -
Sunshine and District Historical Society Incorporated
Air Raid Precautions (ARP) badges, Circa early 1940's
Mr Webb King was an Air Raid Warden during World War 2. These badges were found when his workshop was being cleared out, and so were donated to our society. The badges in our possession do not have the word WARDEN printed on them, like the image of the badge shown on the Darebin Heritage 'Air Raid Protection Services (ARP)' publication, or the image of a badge offered for sale on ebay. At this stage we are uncertain of why this is so. If anybody knows the answer then please leave a message on this site. During World War 2 Australian municipalities were expected to take precautions against air raids, with the Government campaigning to recruit men over 45 to be volunteer Air Raid Wardens. It was also common for women to become wardens. Wardens carried gas masks, helmets, and rattles or whistles. The wardens received 7 to 8 one hour sessions of training, and their chief duty was to advise people of precautions to take, and to ensure those precautions were taken. Air Raid Precautions included air raid drills, shelters (usually trenches), first aid, fire fighting, rescue of 'gassed' persons, evacuation drills, demolition and repair squads, monitoring of blackouts. Melbourne was deemed vulnerable to aerial attack because of its centralised port and industrial facilities and so Anti-aircraft guns were installed in Maribyrnong. By early 1942 more than 60,000 people voluntarily carried out Air Raid Precautions duties according to the Autobiography of Robert V. J. Padula OAM. As the threat diminished during 1943 and 1944 the need for air raid precautions was slowly reduced, and some shelters (trenches) were filled. The two photos showing Air Raid Wardens are out of copyright and have been sourced from the 'Argus Newspaper Collection of Photographs, State Library of Victoria.' The image showing one warden on Swanston Street Melbourne has been cropped to remove extras not connected with the photo. Other sources of information for this report are: (1) http://bpadula.tripod.com/autobiography/id100.html, (2) https://www.awm.gov.au/exhibitions/underattack/mobilise/precautions.asp, (3) http://heritage.darebinlibraries.vic.gov.au/article/57. The ARP badges are a historic reminder of the precautions that were taken in Victoria during the early years of World War 2. The precautions were an effort to minimise the harmful effects of a theoretical air raid. The war started to turn and so an air raid never came, however many people received valuable training in what precautions needed to be taken.Pressed metal round badges with pins. Main feature of badges is the large whitish lettering ARP on a red background. A black outlined crown and the word VICTORIA in red on whitish background is also on the badges. At the bottom of the badges in black are the letters DC plus the numbers of the badges.Serial Numbers of the badges are: DC 361, DC 362, DC 364, DC 368, DC 370, DC 374, DC 375, DC 376, DC 377, DC 379, DC 388, DC 389.arp. arp badge, air raid precautions, air raid precautions warden, warden, badges -
Bendigo Historical Society Inc.
Document - EAGLEHAWK DAHILA & ARTS FESTIVAL ART & CRAFT, March, 1981
Eaglehawk Dahlia & Arts Festival Art & Craft 1981. Stafford Ellison Art Prize & McKern Manufacturing Company Craft Award. 20c. Section A - Painting or Drawing: L Lockett, J miles, R Ellis, C Williams, J Hughes, D Dempsey, S Hartwell, D Hopgood, M Hartney, D Donaldson, B Clemson, P Wright, L Ovens, P Bonne, M Bailey, D Owen, P Crothers, R Johnson, C Smart, S Fitzgibbon, J Thorne, G Gallaway, J Babbage-Mlekuz, D Leggo, D Harris, S Thomas, R Pearce, B Goddard, M Byrne, L Bennell, S Hill, J B Perry, S Lawson, I Williams, G Tavener, G Paynter, W Williamson, I Glanville, G Thompson, T Lambert, H Bennett, B Harding, G Sparks, G Stocks, J Lai, H McKean, J Kerr, M Roberts, J Scown, C Holland, A Evans, R Winderlich, B Read, V Trevean, R Morse, K Powell, D Kemp, U Bourke, J York-Moore, P York-Moore, G Rutherford, P Costello, M Hartwell, R Lenton, R Green, M Penno, S Denham, B John, H Mathiske, A Clarkson, L Clarkson, O Atkinson, C Cola, B Butcher, G Rowe. Section A Weaving: J Grimmer, W Junghenn, M Tweeddale, J Thorne, A Ebsworth, R Pearce, A Denham, A Letts, R Lenton, F Clancy. Section C Any Other Media: L Lockett, G Kairn, N Canobie, J Tebb, R Pearce, J Van Zanten, M Van Zanten, T Henty, N O'Donnell, T Duckett, T Duvoisin, D Healy, R Seipolt, S Fyfe, M Hartwell, R Green, M Penno, S Denham, U Rawlins, M Schofield, M Clemson, C McKern. The Eaglehawk Dahlia and Arts Festival Committee thanks all it's patrons who have helped to make this year's exhibitions so successful. All entries are for sale. . . Can be collected at end of show 22 march or . . .event, exhibition, eaglehawk dahlia & arts festival, eaglehawk dahlia & arts festival art & craft 1981. stafford ellison art prize & mckern manufacturing company craft award. 20c. section a - painting or drawing: l lockett, j miles, r ellis, c williams, j hughes, d dempsey, s hartwell, d hopgood, m hartney, d donaldson, b clemson, p wright, l ovens, p bonne, m bailey, d owen, p crothers, r johnson, c smart, s fitzgibbon, j thorne, g gallaway, j babbage-mlekuz, d leggo, d harris, s thomas, r pearce, b goddard, m byrne, l bennell, s hill, j b perry, s lawson, i williams, g tavener, g paynter, w williamson, i glanville, g thompson, t lambert, h bennett, b harding, g sparks, g stocks, j lai, h mckean, j kerr, m roberts, j scown, c holland, a evans, r winderlich, b read, v trevean, r morse, k powell, d kemp, u bourke, j york-moore, p york-moore, g rutherford, p costello, m hartwell, r lenton, r green, m penno, s denham, b john, h mathiske, a clarkson, l clarkson, o atkinson, c cola, b butcher, g rowe. section a weaving: j grimmer, w junghenn, m tweeddale, j thorne, a ebsworth, r pearce, a denham, a letts, r lenton, f clancy. section c any other media: l lockett, g kairn, n canobie, j tebb, r pearce, j van zanten, m van zanten, t henty, n o'donnell, t duckett, t duvoisin, d healy, r seipolt, s fyfe, m hartwell, r green, m penno, s denham, u rawlins, m schofield, m clemson, c mckern. all entries are for sale. . . can be collected at end of show 22 march or -
Flagstaff Hill Maritime Museum and Village
Pocket Knife, before 1878
Found on board the "Loch Ard" . 'Loch Ard" left Gravesend, England on 2nd March 1878, under the command of Captain Gibb, bound for Melbourne loaded with passengers and cargo. On June 1st 1878, almost at the end of her journey, she ran into a rocky reef at the base of Mutton Bird Island, near Port Campbell. Of the 54 crew members and passengers on board, only two survived: an apprentice, Tom Pearce and a young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. The wreck of Loch Ard still lies at the base of Mutton Bird Island and much of the cargo has been salvaged. Some was washed up into what is now known as Loch Ard Gorge following the shipwreck. Amongst artefacts salvaged from the Loch Ard is the now famous Minton Peacock Statue which was destined for the Melbourne International Exhibition to be held in 1880 HISTORY OF THE LOCH ARD The LOCH ARD belonged to the famous Loch Line which sailed many ships from England to Australia. Built in Glasgow by Barclay, Curdle and Co. in 1873, the LOCH ARD was a three-masted square rigged iron sailing ship. The ship measured 262ft 7" (79.87m) in length, 38ft (11.58m) in width, 23ft (7m) in depth and had a gross tonnage of 1693 tons. The LOCH ARD's main mast measured a massive 150ft (45.7m) in height. LOCH ARD made three trips to Australia and one trip to Calcutta before its final voyage. LOCH ARD left England on March 2, 1878, under the command of Captain Gibbs, a newly married, 29 year old. She was bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo reflected the affluence of Melbourne at the time. On board were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionary, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that intended for display in the Melbourne International Exhibition in 1880. The voyage to Port Phillip was long but uneventful. At 3am on June 1, 1878, Captain Gibbs was expecting to see land and the passengers were becoming excited as they prepared to view their new homeland in the early morning. But LOCH ARD was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4am the fog lifted. A man aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head on into the wind, the ship lost momentum, the sails fell limp and LOCH ARD's bow swung back. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time LOCH ARD was among the breakers and the tall cliffs of Mutton Bird Island rose behind the ship. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves broke over the ship and the top deck was loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of LOCH ARD and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as LOCH ARD Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael had raced onto deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a state of exhaustion, he told the men of the tragedy. Tom returned to the gorge while the two men rode back to the station to get help. By the time they reached LOCH ARD Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland, this time by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the LOCH ARD disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. Ten days after the LOCH ARD tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of LOCH ARD still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some was washed up into what is now known as LOCH ARD Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton porcelain peacock - one of only nine in the world. The peacock was destined for the Melbourne International Exhibition in 1880. It had been well packed, which gave it adequate protection during the violent storm. Today, the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register. The "Loch Ard" is registered on the National Shipwreck database and is protected as an Historic "Shipwreck. It is one of Australia's and Victoria's most tragic and most famous shipwrecks. The quantity of luxury and commercial items carried as cargo show the type and quality of goods passengers migrating to Australia at that time were bringing with them Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. Small pocket knife salvaged from the wreck of the Loch Ard. It has a dark brown cover on one side. Reverse side is only partly there. Both blades are missingflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, pocket knife, knife, tool -
The Beechworth Burke Museum
Animal specimen - White Winged Triller, 1860-1880
The White Winged Triller is a small member of the Campephagidae family. They can be found all over the Australian mainland, but there have also been sightings in Tasmania, Papua New Guinea and Indonesia. Their breeding season is from September to December, when they migrate to southern Australia for the warmer months. The males can be very noisy during this time, when they 'trill' all day, granting them their name. Throughout the winter they can be found in northern Australia. This species can be found in open areas with shrub and lots of ground cover, in woodlands, forests, scrub and waterways. The males and females are noticeably different, particularly when breeding. Breeding males are the most conspicuous, with black on their heads, bodies and wing coverts, with a white body, lower face and lower wings. Females are brown, with a light body, a faint brow and a dark line through their eyes. When not in the breeding season, males are similar to females, though they have a greyer rump. These birds have a netted pattern on their wings. When in flight they undulate, and when they land they often shuffle and re-fold their wings. This species predominantly forage for insects on the ground or tree foliage, but also 'hawks' insects from higher perches. They build nests on horizontal branches or forks, and can be found sometimes using empty nests of other birds. Many of these birds can be found nesting in the same tree as a colony, and both parents incubate and brood their two to three nestlings. This specimen is a male White Winger Triller, which is apparent from his black and white colouring. While missing some plumage, the distinction between black wings, tail, cap and wing covert are still clear against his white body and under-wings. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This male White Winged Triller has a black cap on its head. It has black wings with black wing coverts, and a black tail. It has a white lower face and body, a white shoulder bar and white under-wings. This specimen stands upon a wooden post, attached to a wooden post and has an identification tag tied around its leg. Swing-tag: 22a / White shouldered Campephagidae/ See catalogue, page 11. /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, triller, white winged triller, campephagidae, australian birds -
The Beechworth Burke Museum
Animal specimen - Common Buzzard, Trustees of the Australian Museum, 1860-1880
The Common Buzzard is part of the buteo genus (Latin for buzzard or hawk) which indicates it is part of the raptor group whose features include a medium to large build, a strong body and larger wings. The family includes birds of prey such as hawks and buzzards. Like their name suggests, Common Buzzards are very ‘common’ in the UK but can also be found in other parts of Europe, Africa and Asia. The birds’ habitat consists of woodland, shrubland, forest, wetlands and countryside, and they can live in cold, tropical and temperate climate zones. Similar to other raptor species, Common Buzzards make their nests in tree branches or tree forks. With finely tuned hearing, they are able to detect small marsupials, and their diet consists of small amphibians, birds and mammals. Normally solitary, these raptors can occasionally be seen with others. Common Buzzards are classified as of ‘Least Concern’ on the IUCN Red List. While there is some noticeable fading of this particular taxidermy specimen’s plumage, it is relatively well presented. The completely black eyes and string through the nose of the specimen seem to be taxidermy/curatorial choices, as this is not something that is normally found on living versions today, and the eyes of Common Buzzards are normally golden eyes with black pupils. It is interesting to note, when considering the selected artificial eyes, that the original swing tag labeled this specimen as Saleo tinnunculus Lina, a form of kestrel (known to have complete black eyes), which perhaps explains this taxidermist choice. As a Common Buzzard, this particular specimen could have had its frame and breast area bulked out a little more, as birds within the buteo genus are generally recognised to be of medium to large build. Overall however, this is a fairly reasonable and accurate representation of the species. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.With similar colourings and features to a range of raptor species, the Common Buzzard can often be mistaken for other varieties of buteo and raptor. The bird’s plumage generally varies by location, but normally includes a variety of shades of brown, commonly with darker brown on its back and lighter coloured feathers on its breast, underbelly areas and face. These birds normally have fine bands on their tail and darker tipped wings. Common Buzzards have smaller heads with a band of yellow around the base of their small curved beaks and golden yellow eyes. This particular specimen’s feathers have faded and he stands upon a wooden perch with an identifying tag hanging from its right leg.Swing Tag: Swing tag obverse seems to read: ‘…io [? First few symbols aren’t clear]/ Saleo /tinnunculus/ Lina [there is also another illegible symbol on the tag in the centre on the second line] Swing tag reverse: illegible sections of text and the beginning of a number ‘403…[?]. Metal tag: 1032[?]taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, common buzzard, buteo, hawks, raptors, birds of prey, buzzards -
The Beechworth Burke Museum
Animal specimen - Bandicoot, Trustees of the Australian Museum, 1860-1880
The name bandicoot is taken from the term ‘pandi-kokku’ which means ‘pig-rat’ in Teluga, an Indian language. The bandicoot is endemic to Australia, and is a nocturnal marsupial. When first discovered, the bandicoot was originally mistaken for a type of rodent. This confusion can still occur among people today who don’t know the difference. However, the bandicoot actually descends from the marsupial lineage. Its most distinguishing features are the pointed snout, big ears, long hairless tail, round black eyes, and plump body. The hair colour is brown or tan, sometimes mixed with black or white markings. The hind limbs tend to be longer than the front limbs, and two of the toes are fused together, similar to the kangaroo. They play an important ecological role – turning over soil, which increases the rate of leaf litter decomposition, soil production and nutrient cycling. They're also critical in dispersing fungi spores, so losing bandicoots (and bettongs) from ecosystems has cascading effects on plant diversity, species composition and structure of forests and woodlands. Due to its immense diversity, the bandicoot has a large range of different body sizes. It typically varies between 12 and 31 inches in length, while the tail adds another four to 12 inches. This makes it on average about the size of a house cat. Males may be up to twice as large as females, but otherwise the sexes are similar in appearance. The main difference exhibited by the female is the rear-facing pouch with six to 10 teats to protect and feed the young. The bandicoot is one of the few marsupials to have a developed placenta. However, this placenta is small and lacks certain features, thus separating it from most other placental mammals. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum and the National Museum of Victoria, as well as individuals such amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century. This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.Small sized bandicoot with a pointy snout, small rounded eyes made of glass, a thin tail, small rounded ears, and sharp clawed legs. The fur in colouring is golden brown with streaks of dark brown, and is of medium length and fine.On wooden mount: BMM5896/ On Catalogue Tag (attached to left foreleg): Bandicoot Mou(...)/ Catalogue, Page. 45/ burke museum, taxidermy, taxidermy mount, fauna, animal, animalia, reynell eveleigh johns, bandicoot, marsupial, peramelemorphia -
Federation University Historical Collection
Work on paper - Cartoons, Edwin Cannon, World War One Cartoons by Edwin Cannon, 1916, 1916
Edwin (Ted) Cannon was born at Ballarat on 30 July 1895, the only son of Edwin and Florence Cannon. He studied art at the Ballarat School of Mines Technical Art School. Ted displayed a talent for industrial design but it was his black and white work that 'drew' most attention. His cartoons and caricatures, heavily influenced by Phil May, were of a particularly high standard. During the Ballarat Exhibition of 1913 Ted's work was singled out for notice and he was awarded First Prize. After completing his art course Ted was employed as an assistant teacher at the Ballarat Technical Art School, before taking a position as cartoonist with the Ballarat Star newspaper at the end of 1914. With the war raging in Europe Ted discovered a darker aspect for his artwork, but, still, he could not resist depicting Turkey as a full-feathered, fez-wearing bird. In 1915 Ted was awarded the prestigious Victorian Education Department Senior Technical School Scholarship. Only months into his scholarship, Ted volunteered for the AIF. A keen member of the local 71st "City of Ballarat" Regiment Ted was already primed for a life in the army. He embarked from Port Melbourne on 23 November 1915 with reinforcements to the 6th Infantry Battalion bound for Egypt. It was during the Battle of Pozieres on the Western Front that Ted Cannon came into his own. His work with the Scout Platoon (under the command of Lieutenant Jack Rogers) sketching the enemy's gun emplacements proved invaluable to the Brigade and brought Ted to the attention of the Australian High Command. On 13 September 1916 Ted was given a special assignment for General C.B.B. White. Ted was sent out forward of the Old Mill at Verbrandenmolen (in the Ypres Salient) to draw a panorama of the German lines in the area from Hill 60 to The Bluff. It was a hazardous task and Ted was warned to be careful. Tragically he was sniped by an enemy machine-gunner and sustained severe abdominal wounds. Stretcher-bearers rushed him to the 17th Casualty Clearing Station where he was operated on by the doctors at 8.30 that night. With little chance of success, but ever resilient, Ted remained conscious almost to the end. He died early in the morning of the 14 September 1916. His body was buried in the large Military Cemetery at Lijssenthoek. See http://www.ballarat.edu.au/about-ub/history/art-and-historical-collection/ub-honour-roll/c/edwin-joseph-ted-cannon-1895-1916Digital images of a number of cartoons published in the Ballarat School of Mines Students' Magazine, 1916. Ted Cannon sent cartoons home to Ballarat from the World War One front.edwin cannon, ted cannon, cartoons, world war, world war 1 -
Flagstaff Hill Maritime Museum and Village
Instrument - Azimuth Compass, Early 20th Century
Negretti and Zambra 1850-1980s were optical instrument makers and mathematical instrument makers based in London, England. The firm of Negretti and Zambra was established in 1850 by Henry Negretti and Joseph Zambra who had formed a partnership. Their skill was immediately apparent when exhibiting at the 1851 Great Exhibition at Hyde Park, they were the only English instrument makers to receive a prize medal for meteorological instruments, resulting in their appointment as instrument makers to the queen, Greenwich observatory, and the British Meteorological Society. In 1853, when the Crystal Palace was re-erected in Sydenham, Negretti and Zambra became the official photographers of the Crystal Palace Company, which allowed them to photograph the interior and grounds of the new building. The firm made use of this access to produce a number of stereographs. Between 1855 and 1857 Negretti and Zambra commissioned photographer Pierre Rossier to travel to China to document the Second Opium War. Although Rossier subsequently was unable to accompany to Anglo-French forces in that campaign, he nevertheless produced a number of stereographs and other photographs of China, Japan, the Philippines and Siam (now Thailand), which Negretti and Zambra published and that represented the first commercial photographs of those countries. In 1856 Negretti and Zambra sponsored a photographic expedition to Egypt, Nubia and Ethiopia conducted by Francis Firth. In 1864 Negretti and Zambra (themselves) photographed Shakespeare's House at Stratford on Avon. A sepia photograph was then pasted onto card 4" × 2.5". This was then presented to visitors to the Crystal Palace to enable them to compare it with the model erected by Mr E. T. Parr in the Centre Transept. The card itself is headed "Crystal Palace April 23rd 1864." That year they also published a book, titled A Treatise on Meteorological Instruments, (which was reprinted in 1995). Throughout World War One Negretti and Zambra were entirely engaged in the production of various instruments for the Ministry of Munitions. They developed many instruments for the Air Ministry including a mercury-in-steel distance thermometer for taking the oil and air temperatures in aircraft which was patented in 1920. In 1946 the company went private and in 1948 the company was made public, and by 1950 Negretti and Zambra had 821 employees in Britain. In order to increase production and to safeguard future development in 1964, they purchased a modern factory at Aylesbury for all their production. In 1981 Negretti and Zambra were taken over by a group of financial institutions in the form of Western Scientific Instruments and in 1985 the company was acquired by Meggitt Holdings.The subject compass is just one type of the many marine and scientific, optical items this company produced over it’s life time. Negretti and Zambra were prolific manufactures of types of items as well as being very prominent in photography pioneering new innervation's and sponsoring expeditions to little known countries to document peoples daily lives and culture through photography.Azimuth compass on tripod in a fitted wooden box with a round spirit level included, lid of box has three indented circles where the legs of the compass fit when it is set up for use. Stamped "C.M.O. 9" on with Maker Negretti & Zambra London.flagstaff hill, warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, azimuth compass, nautical instrument, negretti & zambra london, navigational instrument, compass -
Victorian Interpretive Projects Inc.
Cartoons, World War One Cartoons by Edwin Cannon
Edwin (Ted) Cannon was born at Ballarat on 30 July 1895, the only son of Edwin and Florence Cannon. He studied art at the Ballarat School of Mines Technical Art School. Ted displayed a talent for industrial design but it was his black and white work that 'drew' most attention. His cartoons and caricatures, heavily influenced by Phil May, were of a particularly high standard. During the Ballarat Exhibition of 1913 Ted's work was singled out for notice and he was awarded First Prize. After completing his art course Ted was employed as an assistant teacher at the Ballarat Technical Art School, before taking a position as cartoonist with the Ballarat Star newspaper at the end of 1914. With the war raging in Europe Ted discovered a darker aspect for his artwork, but, still, he could not resist depicting Turkey as a full-feathered, fez-wearing bird. In 1915 Ted was awarded the prestigious Victorian Education Department Senior Technical School Scholarship. Only months into his scholarship, Ted volunteered for the AIF. A keen member of the local 71st "City of Ballarat" Regiment Ted was already primed for a life in the army. He embarked from Port Melbourne on 23 November 1915 with reinforcements to the 6th Infantry Battalion bound for Egypt. It was during the Battle of Pozieres on the Western Front that Ted Cannon came into his own. His work with the Scout Platoon (under the command of Lieutenant Jack Rogers) sketching the enemy's gun emplacements proved invaluable to the Brigade and brought Ted to the attention of the Australian High Command. On 13 September 1916 Ted was given a special assignment for General C.B.B. White. Ted was sent out forward of the Old Mill at Verbrandenmolen (in the Ypres Salient) to draw a panorama of the German lines in the area from Hill 60 to The Bluff. It was a hazardous task and Ted was warned to be careful. Tragically he was sniped by an enemy machine-gunner and sustained severe abdominal wounds. Stretcher-bearers rushed him to the 17th Casualty Clearing Station where he was operated on by the doctors at 8.30 that night. With little chance of success, but ever resilient, Ted remained conscious almost to the end. He died early in the morning of the 14 September 1916. His body was buried in the large Military Cemetery at Lijssenthoek. See http://www.ballarat.edu.au/about-ub/history/art-and-historical-collection/ub-honour-roll/c/edwin-joseph-ted-cannon-1895-1916 Digital images of a number of cartoons published in the Ballarat School of Mines Students' Magazine, 1916. Ted Cannon sent cartoons home to Ballarat from the World War One front.edwin cannon, ted cannon, cartoons, world war, world war 1 -
Federation University Art Collection
Ceramic, Ian Sprague, [Ceramic Panel] by Ian Sprague, c1977
Ian SPRAGUE (1920 - 18 April 1994) Born Geelong, Victoria Ian Broun Sprague's initial training was in Architecture, completing a degree at the University of Melbourne in 1950. After a serious car accident in England, Sprague was encouraged to take up a craft to restore the strength in his arms. He studied at the Central School of Arts and Crafts, London for three years, and spent two months at the David Leach Pottery in Devon, before returning to Australia in 1962. In 1964 Ian Sprague established the Craft Centre in Toorak Road, South Yarra, and the Mungeribar Pottery in Upper Beaconsfield, with Robin Welch, Mungeribar being an Aboriginal word meaning 'red clay'. In 1981, he moved to Mooney-Mooney, NSW (Mungeribar was gutted by bushfires shortly after he left), and to Noosa in 1992. The Mungeribar Pottery mark is an impressed 'm', and Sprague's own mark is an impressed 'IS' with the S rendered in Morse code. Ian Sprague's Mungeribar apprentices were Grattan Burley, Victor Greenaway (1969–73), Christopher Sanders (1976-78}, Trevor Hanby (1978–80). In 1981, he moved to Mooney-Mooney, NSW , and Noosa in 1992. Greenaway's mark in his Mungeribar years was an impressed capital G. Grattan Burley (for six months), The Craft Centre in South Yarra was owned and stocked entirely by Ian Sprague, and he travelled all over Australia in search of the best possible textiles, glassware, woodwork and jewellery, not just pottery. The opening exhibition showed the pottery of Robin Welch. Sprague sold the Centre in 1967, but soon started a campaign for a government funded centre, eventually established as the Meat Market Craft Centre in North Melbourne. In 1971 Sprague became president of the recently created Craft Association of Victoria. Dismayed by the quality of teaching in art schools and technical colleges, he ran many workshops around the country on the textural treatment of clay. 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.Contemporary ArtTexture fire clay slab and partly glazed wall panel. Ian Sprague produced his hand modeleed wall panels by cutting them from fireclay blocks, heating and scraping them, and applying bold simplified motifs. A strong solution of salted wated was poured onto the rugged clay surfaceswhich produced a warm toasted surface effect. The panels show a clear understanding of the modulation of two dimensional relief sculpture. Artists stamp on lower RH cornerceramics, ian sprague, gippsland campus, jan feder memorial ceramics collection, mungeribar, meat markery craft centre, craft centre south yarra -
Federation University Art Collection
Painting - Artwork, 'Ring of the Nibellings' by David Noonan, 1989
David NOONAN (1969- ) Born Ballarat, Victoria. Lives and works Melbourne, Victoria and London, United Kingdom. Leaving secondary school as soon as he could, David Noonan enrolled in a Visual Art Course at the Ballarat School of Mines. He described this time as 'an inspiring time, with every art form covered and treated with passion and rigour.' He studied ceramics, photography, painting and knew that he had to be an artist. (https://art150.unimelb.edu.au/articles/david-noonan-making-art-in-a-dark-and-quiet-place, accessed 17 January 2020). Between 1987 and 1989 David Noonan completed a Bachelor of Fine Art at Ballarat University College, Victoria, Australia (Now Federation University Australia). He undertook Post Graduate Studies at the Victorian College of the Arts, Melbourne in 1991 and 1992. Since 2005 he has been based in London with his work featuring in a number of major international exhibitions of contemporary art, including 'Altermodern', the 2009 Tate Triennial at Tate Britain, London. Producing works in a range of media including painting, photography, film, print-making, collage and sculpture David Noonan's work often evoke the subconscious realm through their fragmented imagery, allusive qualities and complex layering of historical and cultural references. Animals, actors and masked figures are recurring motifs that imbue his works with a magical atmosphere that is suggestive of childhood memories or half-forgotten dreams. ( produced works in a range of media including painting, photography, film, print-making, collage and sculpture. His works often evoke the subconscious realm through their fragmented imagery, allusive qualities and complex layering of historical and cultural references. (https://www.ngv.vic.gov.au/essay/david-noonan-untitled/, accessed 17 January 2020) David Noonan has become known for large-scale monochromatic collages on linen comprised of fabrics which are torn, folded, cut, stitched and combined with silkscreened images. This approach was used to produce his 2018 atmospheric film 'A dark and quiet place'. Noonan is interested in combining art and traditional craft techniques. (https://artgalleryofballarat.com.au/gallery_exhibitions/david-noonan-stagecraft/, accessed 17 January 2020) 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. Six stretched canvases making up the work 'Ring of the Nibellings'. art, artwork, david noonan, oil on canvas, alumni -
Federation University Art Collection
Painting, 'Through a Dark Glass Darkly' by David Noonan, c1989
David NOONAN (1969- ) Born Ballarat, Victoria. Lives and works Melbourne, Victoria and London, United Kingdom. Leaving secondary school as soon as he could, David Noonan enrolled in a Visual Art Course at the Ballarat School of Mines. He described this time as 'an inspiring time, with every art form covered and treated with passion and rigour.' He studied ceramics, photography, painting and knew that he had to be an artist. (https://art150.unimelb.edu.au/articles/david-noonan-making-art-in-a-dark-and-quiet-place, accessed 17 January 2020). Between 1987 and 1989 David Noonan completed a Bachelor of Fine Art at Ballarat University College, Victoria, Australia (Now Federation University Australia). He undertook Post Graduate Studies at the Victorian College of the Arts, Melbourne in 1991 and 1992. Since 2005 he has been based in London with his work featuring in a number of major international exhibitions of contemporary art, including 'Altermodern', the 2009 Tate Triennial at Tate Britain, London. Producing works in a range of media including painting, photography, film, print-making, collage and sculpture David Noonan's work often evoke the subconscious realm through their fragmented imagery, allusive qualities and complex layering of historical and cultural references. Animals, actors and masked figures are recurring motifs that imbue his works with a magical atmosphere that is suggestive of childhood memories or half-forgotten dreams. ( produced works in a range of media including painting, photography, film, print-making, collage and sculpture. His works often evoke the subconscious realm through their fragmented imagery, allusive qualities and complex layering of historical and cultural references. (https://www.ngv.vic.gov.au/essay/david-noonan-untitled/, accessed 17 January 2020) David Noonan has become known for large-scale monochromatic collages on linen comprised of fabrics which are torn, folded, cut, stitched and combined with silkscreened images. This approach was used to produce his 2018 atmospheric film 'A dark and quiet place'. Noonan is interested in combining art and traditional craft techniques. (https://artgalleryofballarat.com.au/gallery_exhibitions/david-noonan-stagecraft/, accessed 17 January 2020) 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.A large painting on canvas. art, artwork, david noonan, noonan, alumni, oil on canvas, available -
Melbourne Tram Museum
Album - Robert Thomson Slide Collection, "Melbourne 1-10th October 1993", 1-10 October 1993
Photo - see pdf file for further information. Number Brief Description RT001 South Melbourne depot - tram 861 -"Domain Rd" RT002 Fitzroy St, St Kilda - tram 858 - route 16 RT003 "3" - Z class - tram 210 - "City" - route 05 RT004 Swanston St - tram 989 - "University" - route 8 RT005 Swanston St - tram 992 - "City" - route 6 RT006 Swanston St - tram 867 - "City" - route 8 RT007 "2" - Track Relay Wattletree Road RT008 "1" Track Relay Wattletree Road - tram 214 - route 05 RT009 Swanston St - tram 26 - "City - Swanston St" - route 6 RT010 Balaclava Junction - tram 76 - route 09 RT011 "6" - Track Relay Wattletree Road RT012 Fitzroy St - tram 2042 - "East Brunswick" route 96 RT013 Swanston St - tram 985 - "City" - route 8 RT014 "4" - Track Relay Wattletree Road, Malvern East, looking east to terminus at Burke Rd RT015 "5" - Track Relay Wattletree Road RT016 Collins St - tram 923 - "St Kilda Beach" - route 12 RT017 Victoria Pde Siding - tram 67 - "Special" - route 12 RT018 Nth Fitzroy Depot - trams 2037 & 2021 RT019 Park Street - tram 844 - "West Preston" - route 10 RT020 South Melb Beach Ter - tram 49 RT021 St Kilda Line - tram 67 - "East Brunswick" - route 96 RT022 Port Melb Terminus - tram 67 - "Port Melb'ne" - route 111 RT023 Port Melb Line - tram 2038 - "Exhibition Bldg" - route 111 RT024 Sth Melb Depot - tram 937 – “Restaurant" RT025 Collins St - tram 282 - "City" - route 42 RT026 Spring Street - tram 2100 - "City Spencer St" - route 86 RT027 Spring Street - tram 2093 - "Port Melbourne" - route 111 RT028 "1" New Track Spring St RT029 "2" track construction - Spring St RT030 "3" track construction - Spring St RT031 "4" track construction - Spring St RT032 "5" track construction - Spring St Demonstrates the work of Robert Thomson in photography, collection and/or production of slidesAssembled album in a black presentation folder of 32 colour slides, collected or produced by Robert Thomson. All photographs have been scanned and placed on the Museum's G drive. A list of all photographs with details has been compiled. melbourne, tramways, trams, track construction