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City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Personal Effects, man's razor blade in box, 20thC
Safety razors had been developed in the mid-19th century, but still used a forged blade that dulled and rusted. In the 1870s, the Kampfe Brothers ( Germany) introduced a type of safety razor. Gillette improved these earlier safety-razor designs, and introduced the high-profit-margin stamped razor blade steel blade. Gillette's innovation was the thin, inexpensive, disposable blade of stamped steel. King Camp Gillette observed in 1902 that as existing, relatively expensive, razor blades dulled quickly and needed continuous sharpening, a razor whose blade could be thrown away when it dulled would meet a real need and likely be profitable. In 1918, when the U.S. entered World War I, the Gillette company provided all American soldiers with a field razor set, paid for by the government, and as they were allowed to take them at discharge they continued their use of this product thus ensuring future sales. An unused, wrapped, man's razor blade in a box. 7 O'clock brand '7 O'CLOCK / REGD. TRADE MARK / BLADES / DOUBLE EDGED shaving equipment. razorblades, safety razors, cheltenham, moorabbin, bentleigh, pioneers, early settlers -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Manufactured GLass, test tubes, mixers, 20thC
A test tube, also known as a culture tube or sample tube, is a common piece of laboratory glassware consisting of a finger-like length of glass or clear plastic tubing, open at the top, usually with a rounded U-shaped bottom. Test tubes are widely used by pharmacists to hold, mix, or heat small quantities of solid or liquid chemicals, especially for qualitative experiments and assays. Their round bottom and straight sides minimize mass loss when pouring, make them easier to clean, and allow convenient monitoring of the contents. The long, narrow neck slows down the spreading of vapours and gases to the environment. Test tubes are usually held in special-purpose racks, Test tubes for physics and chemistry are usually made of glass for better resistance to heat and corrosive chemicals and longer life. Tubes made from expansion-resistant glasses, such as borosilicate glass, can be placed directly over a Bunsen burner flame.8 clear glass test tubes of varied capacity with 3 glass mixers sitting in a wooden stand. A 1 metre length of clear plastic tubing is with this setglass manufacturers, test tubes, culture tubes, sample tubes, borosilicate glass, otto schlott, felton grimwade company, melbourne glass bottle works, laboratory glass, pharmacy, moorabbin, bentleigh, cheltenham, spotswood melbourne -
Orbost & District Historical Society
school text book, Thomas Nelson & Sons, Royal Readers No V1, 1895
The Royal Readers had been prepared especially for Victorian schools and featured some Australian content. The authors made great use of the natural world as well as incidents and common daily events to attract children to the stories. Teachers were encouraged to teach children not only the 'art of reading' but also a 'love of reading'. Illustrations were used effectively to attract children 'through the eye' to the stories and to help them understand same. They were used extensively in Victorian schools as well as in other states. However, during the 1890s and especially the early 1900s, governments came under increasing pressure to change the reading books again because these books did not reflect the rapid scientific advances in the 1890s. Royal Readers date quickly when a new syllabus was introduced in 1905. Education materials were to be relevant to children's daily lives with a demand for greater local content. (info. from http://education.qld.gov.au)This book as an example of school work in the early 20th century. It reflects the the way reading was taught, to young children in Victoria. It reflects the changes in education in East Gippsland and is a useful comparison tool for literacy teaching. A small book with a blue fabric cover. It is titled Royal Readers No V1 and is a part of a series of Royal Readers.inside cover - E.A. Stephenson, Longford.education-texts schools-reading royal-readers -
Orbost & District Historical Society
textbooks, 1948 - 1982
These reference books were used in the Orbost pharmacy by various chemists. . Chemists who worked in Orbost included Henry Cottman; James Alfred Dubois Williams; Harry Arthur Murray; Miss P.E .Mason (Phyllis Estelle?); Miss Sybil Monica Buzza; Thomas James Frayer; Australia Shaw; James David Torley; John William Zimmer; Dalkeith William Steele; William Thomas Hollingsworth; E.E. Cohen; R.S. Anderson; Frances John Perry Faith Everard Pardew and Charles Anthony Wurf. "n Britain, the Medical Act of 1858 charged the General Medical Council with the "production of a book containing the list of medicines and compounds, and the manner of preparing them together with the true weights and measures by which they are to be mixed and prepared". The British Pharmacopoeia thus became the official reference book and superseded other previous manuals" (from .South Australian Medical Heritage Society Inc" These reference books have an association with Orbost. Historical works in pharmacy show the evolution of therapeutics and the development of diverse treatment and are therefore a useful research tool. Five heavy reference books. They contain detailed information on drugs and other pharmaceutical materials with standards for substances. Details of each book are in the catalogue folder.pharmacies-orbost reference-books-pharmacy medicine drugs -
Flagstaff Hill Maritime Museum and Village
Domestic object - Toiletries Container, First half of the 20th century
This item is believed to have been made in or around the Staffordshire area in the United Kingdom. Over 1500 pottery firms have operated in Stoke-on-Trent since the early 1700's - Some lasted only a few years and some for well over 200 years. Some potters built and owned their own works. Many others were tenants in works built by others and a succession of potters occupied the same works. It was also a common practice for a works to be split between two different pottery companies or for a larger manufacturer to let out a smaller section of his works to a potter who would make wares which were not of interest to the pot works owner. Some potters purchased 'blanks' from other manufacturers and put their own decoration on them some items have two back stamps some have no marks at all. This adds to the confusion and frustration of trying to trace details of a particular manufacturer such as the subject item.The subject item at this time cannot be associated with an historical event, person or place, provenance regards manufacturer is unknown, item assessed as a collection asset as it is believed to have been produced well before 1950.Container for toiletries. Lid and base. Cream porcelain with red floral decoration. Noneflagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, porcelain container, toilet container, beauty container, ceramic, decorative object, pottery object -
Flagstaff Hill Maritime Museum and Village
Decorative object - Ceramic Box, Prior to 1950
This item is believed to have been made in or around the Staffordshire area in the United Kingdom. Over 1500 pottery firms have operated in Stoke-on-Trent since the early 1700's - Some lasted only a few years and some for well over 200 years. Some potters built and owned their own works. Many others were tenants in works built by others and a succession of potters occupied the same works. It was also a common practice for a works to be split between two different pottery companies or for a larger manufacturer to let out a smaller section of his works to a potter who would make wares which were not of interest to the pot works owner. Some potters purchased 'blanks' from other manufacturers and put their own decoration on them some items have two back stamps some have no marks at all. This adds to the confusion and frustration of trying to trace details of a particular manufacturer such as the subject item.The subject item at this time cannot be associated with an historical event, person or place, provenance is unknown, item assessed as a collection asset as it is believed to have been produced before 1950.Ceramic rectangular box body has with fine brown line floral design with protruding wedge ends. Noneflagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, container, decorative object, ceramic, ceramic box -
Federation University Historical Collection
Photograph - Black and White Photographs, Photographs relating to runner and Olympian Tony Benson
As of 2016 Tony Benson is the last Australian to win the 5000m at one of the major meets (now called Diamond League). That year Tony Benson was undefeated in Europe something no Australian has done since. He was also undefeated in the USA in early 1972 and probably would have medalled in Munich 1972 except for an incurring a hamstring injury 10 days before the race AND not being able to find the team medical doctors until some 16 hrs after the injury due to them being away from the village. Despite running with a torn hamstring Tony Benson broke Ron Clarke's Australian Olympic record for the 5000m but had no 'kick' and finished 7th in the heat. None of those who made the final had ever beaten Benson. Kip Keino and Tony Benson became friends. Keino received the first ever Olympic Laureate Award by the IOC at the Rio opening ceremony in 2016. Five images from the Collection of Tony Benson. .1) Tony Benson runs during the Ballarat Teachers' College Lap of the Lake, 1962 .2) Ballarat Teachers' College Athletics, 1963 .3) Ballarat Teachers' College Athletics, 1963. Lecturer and coach Peter Fryar hand out the oranges. .4) Ballarat Teachers' College Tennis Team, 1963 .5) Tony Benson defeating the great Kip Keino at the 1971 Stockholm Grand Prixtony benson, olympics, olympic games, running, ballarat teachers' college, peter fryar, olympian, football, tennis, athletics -
Federation University Historical Collection
Photograph (black & White), Field Artillery - South Africa
The Second Boer War saw attempted application of bombardment as an alternative to the use of ground forces. In most battles fought during the conflict this was proved not to be possible. There was competition from the other side's ability to take evasive measures. The opponent was able to use cover to protect himself and hide his position. This was the tactic used against the British at the Battle of Magersfontein and the Battle of Colenso. The British had success when they ceased using artillery by itself and used it in conjunction with infantry. British General Buller linked the use of artillery and the movement of infantry in continuous interlocking assaults upon each hill south of Ladysmith. As soon as shelling had finished in a location the infantry moved. The front collapsed on the 27 February 1900 when use was made of a creeping curtain of shell fire sent over the heads of advancing infantry destroying everything 100 yards ahead of them. It was this tactic of the creeping barrage that has been described as "revolutionary'. Individual image from photographed poster of tobacco and cigarette cards.second boer war, ground forces, battle of magersfontein, battle of colenso, general buller, infantry, ladysmith, interlocking assaults -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Kitchen Equipment, curved sad iron, c1880
Sad-irons or "solid" irons were made by blacksmiths and used to smooth out material by pressing the hot iron over it. A piece of sheet -iron was placed over the kitchen fire and the irons placed on it could be heated whilst remaining clean of ash.. The women used 2 irons - one heating while the other was used. Thick cloth or gloves protected their hands from the hot irons. The handle was removed from the cool iron and re- attached to remove the hot iron from the fire. The cool iron was replaced on the fire or stove to heat again. These irons were cleaned with steel wool to prevent them marking the material. If the iron was too hot the material would scorch. Most homes set aside one day for ironing and some large households had an ironing room with a special stove designed to heat irons. However, most women had to work with a heavy, hot iron close to the fireplace even in summer.The Curtis family were early settlers in Moorabbin Shire c1880 and used sad ironsA small, curved, flat iron, with attached handle, used for cuffs, collars and frillsSILVESTER'S/ PATENT/ SALTERS / No 3 with the pretzel & a arrow going through the centresad iron, kitchen equipment, pioneers, early settlers, market gardeners, sewing, craftwork, clothing, moorabbin, brighton, bentleigh, fireplaces, stoves -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Domestic object - Kitchen equipment, sad iron, c1880
Sad-irons or "solid" irons were made by blacksmiths and used to smooth out material by pressing the hot iron over it. A piece of sheet -iron was placed over the kitchen fire and the irons placed on it could be heated whilst remaining clean of ash.. The women used 2 irons - one heating while the other was used. Thick cloth or gloves protected their hands from the hot irons. The handle was removed from the cool iron and re- attached to remove the hot iron from the fire. The cool iron was replaced on the fire or stove to heat again. These irons were cleaned with steel wool to prevent them marking the material. If the iron was too hot the material would scorch. Most homes set aside one day for ironing and some large households had an ironing room with a special stove designed to heat irons. However, most women had to work with a heavy, hot iron close to the fireplace even in summer.These sad irons remind us of the difficult circumstances experienced in their daily routines by the pioneers and early settlers of Moorabbin Shire. The family of Miss M Curtis were early settlers in Moorabbin Shire. Sad-iron, domestic, flat, cast iron, Silvester's Patent, No 6, Salter, England, c. 1890-1900s A sad iron made from cast iron was heated over a fire or on a stove and used for pressing clothing and table wareSILVESTER'S/ PATENT/ SALTERS / No 6 with the pretzel & a arrow going through the centresad iron, kitchen equipment, pioneers, early settlers, market gardeners, sewing, craftwork, clothing, moorabbin, brighton, bentleigh, fireplaces, stoves -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Domestic object - Kitchen Equipment, flat iron with trivet stand, c1880
Sad-irons or "solid" irons were made by blacksmiths and used to smooth out material by pressing the hot iron over it. A piece of sheet -iron was placed over the kitchen fire and the irons placed on it could be heated whilst remaining clean of ash.. The women used 2 irons - one heating while the other was used. Thick cloth or gloves protected their hands from the hot irons. The handle was removed from the cool iron and re- attached to remove the hot iron from the fire. The cool iron was replaced on the fire or stove to heat again. These irons were cleaned with steel wool to prevent them marking the material. If the iron was too hot the material would scorch. Most homes set aside one day for ironing and some large households had an ironing room with a special stove designed to heat irons. However, most women had to work with a heavy, hot iron close to the fireplace even in summer. These sad irons remind us of the difficult circumstances experienced in their daily routines by the pioneers and early settlers of Moorabbin Shire The family of Miss M Curtis were early settlers in Moorabbin Shire. A) A heavy cast iron, flat iron with B) horseshoe shaped trivet stand c1880 The trivet can be attached to a table by an adjustable clamp.A) 5 on tip of ironsad iron, kitchen equipment, pioneers, early settlers, market gardeners, sewing, craftwork, clothing, moorabbin, brighton, bentleigh, fireplaces, stoves -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Domestic object - Kitchen Equipment, sad iron with lifter, c1900
Sad-irons or "solid" irons were made by blacksmiths and used to smooth out material by pressing the hot iron over it. A piece of sheet -iron was placed over the kitchen fire and the irons placed on it could be heated whilst remaining clean of ash.. The women used 2 irons - one heating while the other was used. Thick cloth or gloves protected their hands from the hot irons. The handle was removed from the cool iron and using the lifter the cool iron was replaced on the fire or stove to heat again. These irons were cleaned with steel wool to prevent them marking the material. If the iron was too hot the material would scorch. Most homes set aside one day for ironing and some large households had an ironing room with a special stove designed to heat irons. However, most women had to work with a heavy, hot iron close to the fireplace even in summer.These sad irons remind us of the difficult circumstances experienced in their daily routines by the pioneers and early settlers of Moorabbin Shire. The Curtis family were early settlers in Moorabbin ShireA) This heavy sad iron, made from cast iron, was heated over a fire or on a stove and used for pressing clothing and haberdashery. B) The separate tapered handle was used to lift the hot iron from the fire and when a "Potts" Handle was attached the ironing commenced. sad iron, kitchen equipment, fireplaces, stoves, pioneers, early settlers, market gardeners, sewing, craftwork, clothing, moorabbin, brighton, bentleigh -
Flagstaff Hill Maritime Museum and Village
Equipment - Marine diver's boots, 20th century
These marine diver's boots are made to weigh down the diver's feet to the bottom of the seabed, at the same time protecting his feet. The different pieces are joined with nuts, bots and washers. The boots are part of the protective clothing worn by marine divers to enable them to go to depths where others had not been. The Great Ocean Road along the southwest coast of Victoria is renown for its treacherous seas and tragic shipwrecks. Decades after the occurred divers began to explore the wreck sites and discovered hundreds of lost ships. The ships' skeletons and sprawled wreckage tell many stories of the type of ships used, the cargo and luggage carried onboard. They are valuable source of primary history. Many artefacts were recovered from local shipwrecks by the Flagstaff Hill divers and they have been preserved for historical records. Since that time many historic shipwrecks have become protected by Australian law. However, divers are able to still visit the sites.The boots are an example of diver's apparel in the 20th century and show the process of evolving protective and safety wear for underwater divers today.A pair of marine diver's boots. Boots are made of brass alloy and leather. The toes are metal and the metal soles are rippled. The sides have a short bar along the inner and outer sides of the foot, designed to fit a leather strap across the boot to hold it in place. A leather piece is attached to the back of each boot and extends around the ankle area to fasten with a buckle. flagstaff hill, warrnambool, maritime village, maritime museum, shipwreck coast, great ocean road, diver's boots, marine diving, underwater diving, deep sea diving, diving equipment, diving accessory, shipwreck exploring -
Flagstaff Hill Maritime Museum and Village
Container - Brown paper shopping bag from Adda & Co. Paris, c. early 20th century
Adda & Co operated a business at 52 Boulevard Haussmann, Paris.The store sold crocheted silks, furs and hides. History of shopping bags: Before the late 1800s, shopping bags didn’t exist. Shoppers would either carry their goods home in baskets, or have the merchant deliver them to people's homes, until 1852 when Francis Wolle, a schoolteacher in Pennsylvania, invented a machine to produce paper shopping bags. This invention would allow customers to carry items home in disposable paper bags. Soon after, owners of department stores and retailers began to realise that paper shopping bags could be used to help market their brands, and as such custom shopping bags with printed logos became common place. Carrying a shopping bag from certain shops became a type of status symbol for consumers, providing evidence that one was well-off, had good taste, or both.The paper shopping bag is a rare survival of ephemera related to a retail store called Adda &Co that operated at 52 Boulevard Haussmann, Paris. The arrival of waves of more than ten million migrants by boat is one of the major themes in Australia’s history. The paper shopping bag is representative of personal items purchased for migrant journeys as markers of domesticity, warmth and making oneself at home in a new land that speaks of the transnational lives embedded in threads of migration.A brown paper shopping bag with a printed logo and store information in black inkparis, department store, shopping, adda & co, flagstaff hill, maritime museum -
Stratford and District Historical Society
Snakebone necklace
Makers of Snakebone Necklaces Two local women who made these necklaces were: Minnie Blucher (nee Wanke) (c.1891-1976) who lived at Briagolong in the 1940s. Highly artistic, she eagerly sought out snakes, killing many around Noble's Bridge. Peter Mills of Briagolong remembers that she would hang them on fences for maggots to eat away the fresh, and painted and dyed the bones. She also used spine bones from cattle for ornaments. Bella Buttsworth (1882-1951) was the daughter of Thomas and Rachel Mills of Briagolong, and the aunt of Ina Worseldine of Maffra. Ina remembers her making these necklaces in the 1920s, and that she placed beads in between the bones. The comment was also made that she often put large bones at the front and smaller ones to the back. Bella obtained the bones by boiling the dead snakes down, and then left the bones out on logs in the sun to bleach.A circular necklace made of spine bones from snakes and red beads, threaded onto copper wire. It contains 20 bones, each with a red bead between it and the next, with five red beads near a rough hook catch. The bones appear painted, possibly with calcomine.craft, handcrafts -
Wangaratta Urban Fire Brigade
photographs - hazmat training
HAZMAT training at the back of the fire station in Ely St. 00007.1 - 1 person is in a decontamination tub (a tub to prevent any run off) wearing a gas suit (a fully enclosed suit), being rinsed off by a person using a fire hose and wearing a splash suit (a two piece suit that is open to the enviroment - but will prevent any direct splashing). There is also a person wearing a breathing apparatus (BA) in the background. 00007.2 - showing 2 people after training in gas suits sitting on the concrete with blankets around them. 00007.3 shows 1 person, after gas suit training been comforted by a person in a B.A, 1 in splashsuit tidying up the used gas suit. 00007.4 person removing gas suit with assistance of a person in a splash suit. the person at the rear in BA is about to pick up the blanket to wrap around the person who has been in the gas suit.5 black & white photographs showing HAZMAT (Hazardous materials) training at the fire station in Ely Street.00007.1 - '80%',ely st, hazmat, training -
Puffing Billy Railway
51 NBH - Passenger Carriage - Excursion Car for wheelchairs, 1981
51 NBH - Excursion Car for wheelchairs - specially built for Wheelchair access allowing it to carry 24 passengers or 20 passengers and 3 wheelchairs, or 16 passengers & 6 wheelchairs Puffing Billy Service History or Notes Coupled Length 31 feet 4 inches (9550 mm) Width 6 feet 3 inches (1905 mm) Height 9 feet 2 inches (2794 mm) Weight 8 tons Capacity 24 passengers, or 20 passengers and 3 wheelchairs, or 16 passengers and 6 wheelchairs Number Built 2 In use 2 In 1981 the first of two extended NBHs with provision for wheelchair passengers (double door access and fold-up seats) was built, the second following in 1983. These were numbered 51 & 52 - a separate number series because of their length made them different from the other NBHs. May 2016 - In for repairs to the roofHistoric - Puffing Billy Railway Narrow Gauge - Passenger Rolling Stock: Excursion Car specially built for Wheelchairs access51 NBH - Excursion Car for wheelchairs - specially built for Wheelchair access allowing it to carry 24 passengers or 20 passengers and 3 wheelchairs, or 16 passengers & 6 wheelchairs made of wrought iron and timber 51NBH -
Stawell Historical Society Inc
Photograph, Mick Walsh, Mick Walsh Stawell Studio Colour Negatives, 1975 to 1986
Negatives from Stawell Photographer. Discarded from Penna Print Ararat. Son contacted and gave approval for Stawell Historical Society to keep them. Only those of a non personal nature scanned. W Pianta Baby Megan Cooper & Rickard Ararat Trots Janet Evans John Shalders 40th Val Wortley 80th Birthday Great Western Cup 1984 Dianne Freeberg & David Wortley Caffrey Family Stawell Motel Dunn Bros New Reservoir Aug 1983 McCanns Val & Max Kennedy & Family Bigmore Family Coopers Cars Walters Wedding Bauer Girls Watchom Leigh McClure Coopers Car Middleton Reunion Carol Cunningham & Rodney Clarke Sue Dunmore Sisters RSL Baby Show 1983 Della Bessingham 4-11-83 Stawell Show 1983 Chas Mangle Cousins Grave Delzotta Car Whelan Pigeons Sharon Hustler & Cliff Naeff Colour negatives of families, weddings and other. Nineteen Lever Arch Folders Mick Walsh 52 Patrick Street Stawellphotography -
Stawell Historical Society Inc
Photograph, Mick Walsh, Mick Walsh Stawell Studio Colour Negatives, 1975 to 1986
Negatives from Stawell Photographer. Discarded from Penna Print Ararat. Son contacted and gave approval for Stawell Historical Society to keep them. Only those of a non personal nature scanned. Byron & Raitt Showgirls 1985 Stawell Show 1985 Glen Dever Pert Funeral & Watkins Grave Football presentation Mine Views of Wonga Cooper Cars Elsie copies of twins Grampians Halls Gap Flower Show Oct 1985 Art Exhibition Old Court House Paul Cooper Car Catherine & David Timms Seppelts Long Service Pam & Ron Matthews Trevor Larkin Motor & Car Lewis McGregor copy H & D Panels Family at 70th Warriors Football Club 85 Flag Raising First Communion 1985 Sonya Stevens & Mark Sullivan Caravan Park Jones Family Heather Streets & David Thomas Car Ian McIntosh Helen Traynor & Eddie Osborne Colour negatives of families, weddings and other. Nineteen Lever Arch Folders Mick Walsh 52 Patrick Street Stawellphotography -
Nillumbik Shire Council
Print (Lithograph) Alice Blanch CHEHOVSKI, Alice B. (Blanch) Chehovski, Dunmoochin. Pugh's Gate, before the Fire, / Printed 2004
Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Black and white lithograph on paper depicting the elaborate stone and wrought iron (open) gate/ entrance to Pugh's artist colony 'Dunmoochin' situated at Cottles Bridge. Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, gate, fire, lithograph -
Nillumbik Shire Council
Print (Lithograph) Alice Blanch CHEHOVSKI, Alice B. (Blanch) Chehovski, Dunmoochin, Sunlight, / Printed 2004
Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Black and white lithograph on paper depicting the elaborate stone and wrought iron (open) gate/ entrance to Pugh's artist colony 'Dunmoochin' situated at Cottles Bridge.Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, sunlight, lithograph -
Nillumbik Shire Council
Print (lithograph) Alice Blanch Chehovski, Alice B. (Blanch) Chehovski, Dunmoochin, Pugh's Garden, Printed 2004
Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Lithographic print in black and white (very dark image) detailing Clifton Pugh's garden at Dunmoochin.Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, garden, lithograph -
Nillumbik Shire Council
Alice Blanch CHEHOVSKI, Alice B. (Blanch) Chehovski, Dunmoochin, Print Studio, Printed 2004
Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Lithographic print in black and white depicting the Print Studio at Dunmoochin.Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, studio, lithograph -
Nillumbik Shire Council
Print (lithograph): Alice Blanch CHEHOVSKI, Alice B. (Blanch) Chehovski, Dunmoochin, Artist's Gallery, Printed 2004
Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60. This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Lithographic print in black and white detailing the Artist's Gallery at Dunmoochin, located within bush surrounds at Cottles BridgeBottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, gallery, lithograph -
Nillumbik Shire Council
Print (lithograph): Alice Blanch CHEHOVSKI, Alice B. (Blanch) Chehovski, Dunmoochin, Gate 1, Printed 2004
Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her Mother took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60. This lithographic print is one of a set of ten produced at Dunmoochin.Lithographic print in black and white depicting Gate # 1 at Dunmoochin. Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, gate 1, lithograph -
Nillumbik Shire Council
Print (lithograph): Alice Blanch CHEHOVSKI, Alice B. (Blanch) Chehovski, Dunmoochin, Pond Reflecting Pugh, Printed 2004
Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Lithographic print in black and white depicting bushland and a pond reflecting light.Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, pond, lithograph -
Nillumbik Shire Council
Print (lithograph): Alice Blanch CHEHOVSKI, Alice B. (Blanch) Chehovski, Dunmoochin, Evening at Pugh's Garden, Printed 2004
Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Print - lithographBottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, garden, evening, lithograph -
Nillumbik Shire Council
Print (Lithograph): Alice Blanch Chehovski, Alice B. (Blanch) Chehovski, Dunmoochin, Interior Pugh's House, Printed 2004
Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Lithographic print in black and white (dark image) detailing the interior of Clifton Pugh's house at Dunmoochin. Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, interior, house, lithograph -
Nillumbik Shire Council
Print (Lithograph): Alice Blanch Chehovski, Alice B. (Blanch) Chehovski, Dunmoochin, My Cottage, Printed 2004
Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60. This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Lithographic print in black and white (very dark image) depicting Chehovskis' cottage at Dunmoochin. Small cottage, bushland and shrubs.Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, cottage, lithograph -
National Wool Museum
Knife
Bowie knife, presented to or ordered by Charles John Dennys. Charles John Dennys (1818-1898) arrived from England in 1842 and set up a wool-broking business in 1852 with his cousin Thomas Allen Lascelles and Edward Walton. This became Dennys, Lascelles Ltd and later Dennys, Lascelles, Austin and Co. after prominent grazier Sidney Austin joined the firm in 1881. Dennys was appointed Secretary of the District Council of Grant in 1843 and was elected to the South Barwon municipal council in 1857 ("The Bay, Barwon and Beyond", pp.12-13). The donor is the great grand daughter of Charles Dennys; she found the knife whilst cleaning out an aunt's house and has no knowledge of its provenance. Many bowie knives were exported to America from Sheffield, where a number of manufacturers began making them in the 1800s. This style of knife dates typically from the mid 1800s.Bowie knife made by Morton & Davis, Sheffield and owned by Charles John Dennys (1818-1898), co-founder of the woolbroking firm Dennys, Lascelles Ltd. Bowie knife made by Morton & Davis, Sheffield and owned by Charles John Dennys (1818-1898), co-founder of the woolbroking firm Dennys, Lascelles Ltd.STANLEY / MORTON & DAVIS / CELEBRATED BOWIE KNIFE / SHEFFIELD ASK FOR NOTHING / BUT what is / RIGHT / SUBMIT TO NOTHING THAT IS / WRONG CHARLES JOHN DENNYS.dennys, mr charles john