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Australian Gliding Museum
Machine - Glider – Sailplane
The ES49 glider / sailplane was designed by Edmund Schneider in Germany before he migrated to Australia in the early 1950s. In Germany the ES49 was put into limited production by the Schleicher factory from 1951 to 1953 (8 produced). In Australia the ES49 is commonly referred to as the “Wallaby”; two were built by the Adelaide Soaring Club with assistance from Edmund Schneider Ltd and one independently from plans by Eric Hader and members of the Cooma Gliding Club. The Museum’s ES49 – serial number GFA-HB-36 - was built at Gawler from 1955 to 1958 and registered as VH-GLL on 15 January 1959. It was the second of the ES49s built by the Adelaide Soaring Club. Originally it had a rather distinctive appearance due to the use of a sleek P51 Mustang canopy to enclose the forward seating position of the cockpit. The glider, together with its sister VH-GDK, was used at the Gliding Federation of Australia National Gliding Schools at Gawler. In 1964 the glider was transferred to the Newcastle Gliding Club, Newcastle, in New South Wales and then in 1966 it went to the Albury and District Gliding Club, Albury, New South Wales. The Snowy Mountains Gliding Club, Khancoban, New South Wales acquired the glider in 1968 where it remained until 1974. In 1974 the glider transferred into private hands at Wodonga, Victoria, for two years and then to interests at Albury until 1985. At that stage the glider was acquired by a private owner at Bathurst, New South Wales, who undertook a restoration that included, amongst other work, the fitting of a more conventional cockpit canopy. The glider was at Warkworth, New South Wales in 1992 and became to be owned by Eric Oates who preserved it until he donated it to the Australian Gliding Museum. According to the logbook for VH-GLL held by the Museum, the glider was last flown in November 1990 and at that time had logged 2758 hours and 57 minutes from 15775 launches. The fuselage is currently under restoration at the Museum’s Dave Darbyshire workshop. The ES49 – VH-GLL – is an example of the state of wood and fabric dual place sailplane design in the late 1940s. The glider served the Adelaide Soaring Club and subsequent owners well as a training and general purpose sailplane over many years. It is a rare example of the type (one of 4 existing in the world). Tandem two seat high wing strut braced glider-sailplane finished in silver grey colour scheme.australian fliding, glider, sailplane, schneider, es 49, wallaby, oats, adelaide soaring club, hader, cooma gliding club, newcastle gliding club, albury & district gliding club, snowy mountains gliding club -
Puffing Billy Railway
Steam Engine - Tangye single cylinder vertical, Circa 1920
Used by the Malvern city council until 1969 to drive a rock crushing plant. While large horizontal steam engines predominated in major factories, small vertical steam engines like this were the workhorses of industries that had modest power requirements. This reliable little engine, made by leading UK manufacturer Tangye Bros of Birmingham Steam engines had the advantage that any fuel could be used to fire their boilers, but they were less convenient and efficient than internal combustion engines, required operators with higher skill levels, and had lower power to weight ratios. Tangye Limited was founded in 1857 in Birmingham by businessman Richard Tangye (1833-1906) and his mechanic brothers James and Joseph; brothers Edward and George joined them later. Richard was born near Redruth in Cornwall and educated at the Friends School at Sidcot, Somerset, where he became a pupil-teacher. From there he moved to Birmingham to work as a clerk for an engineering firm. In 1856 he started a hardware factor and commission agent business in Birmingham whose customers were mainly Cornish mine-owners in the Redruth district. From 1858 Tangyes concentrated on the manufacture of machinery and secured the sole right to manufacture Weston's differential pulley block (object 2003/45/1). They established their Cornwall Works in the Birmingham suburb of Smethwick in 1864 and soon developed a huge range of products. It was stated that 'there are perhaps no other works in the kingdom so largely employed upon so great a variety of specialities as the Cornwall Works of Messrs Tangye Bros.' The Tangyes attracted creative people to work for them. They wrote: 'We are in a position to offer unusual facilities to Inventors for carrying out their patents.' Info about Tangye Bros of Birmingham from Powerhouse Museum https://ma.as/207954 Donated by Malvern City Council in 1969 Of Interest : The Vertical and Horizontal Tangye engines on display are of the design that won a Gold Medallion at the Paris Industrial Exhibition of 1878.Historic - Industrial Steam Engine Equipmentsingle cylinder vertical Steam Engine made of Cast Iron, (Painted)Tangye Birmingham Builder's number 2462tangye, vertical steam engine, steam engine, puffing billy, stone crushing, george and george, malvern -
National Wool Museum
Tool - Spinning Wheel, c.1980
This spinning wheel originates from New Zealand; however, it has no distinguishing features relating to its creator such as an inscription, so its exact maker is not known. Gill Stange remembers buying the wheel on Bridge Road in Richmond, approximately 30 years ago. Gill had joined her local Spinners and Weavers Guild after the Ash Wednesday bushfires of 1983. She was a then resident of Mount Macedon and lost everything in the fires. Moving to Melbourne to get away from the scene of much pain, Gill was also in need of a new hobby to help occupy her mind. That is when spinning and weaving entered her life. The local Spinners and Weavers Guild was a great support network for her and with their recommendation, she purchased her own spinning wheel. Her passion was started, and the wheel was to become a treasured item in Gill’s home. She had several spinning wheels within her possession over the years, however, this wheel was her first and always her favourite. When the time came for Gill to downsize, there was simply no longer room for her spinning wheel. This is when she decided to donate the wheel to the National Wool Museum. Gill remembers one highlight was weaving a tablecloth from a traditional German design. It took her two years to complete, with Gill spinning all the wool herself on this wheel. The tablecloth won the first prize in the Melbourne Show in 1987. Gill also used the wheel to teach programs to school children on how to spin and knit wool. She would take the easily transported little wheel, and its accompanying seat, with her to schools. Its small size enabled her to teach children to knit and spin, bringing others the joy that spinning had brought her. Not just limited to schools, Gill also taught programs with the wheel here at the National Wool Museum. It is a fitting home for the wheel, which Gill donated to the National Wool Museum in 2021.Dark varnished wood in a Castle style spinning wheel. The wheel has 8 small spokes which meet a thick outside rim. The outside rim has four golden disc weights on the bottom edge, to aid in the turning of the wheel. The spinning wheel has four legs of turned wood giving a sculptural form, a design pattern which is continued throughout. The wheel has a single medium sized foot pedal. This pedal is well worn with varnish missing from years of use. The wheel is completed with its accompanying chair. Made of the same dark varnished wood, its legs are also of turned wood, continuing the design pattern and uniting the two objects. The chair is very simple outside of the legs, with a medium size base and a thin backrest ending in a rounded head. The chair’s varnish is also starting to fade from years of use. The chair is small, designed to keep the spinning wheel operator at the appropriate height when spinning on the equally small and compact Castle style spinning wheel. Additional parts were donated with the Spinning Wheel. - 3 x Lazy Kates - Spare Maiden. - 450mm Niddy Noddy - Steel teeth brushspinning wool, spinning wheel, ash wednesday, mount macedon, textile production -
Surrey Hills Historical Society Collection
Photograph, Surrey Hills Post Office
The post office opened at this location in 1912. It was demolished in 2000. Post office history in the area: Until 1883 when the railway came through to Surrey Hills, this was essentially a rural community of scattered farms. Land subdivisions soon occurred along the railway line and limited postal services followed soon after, although a ‘permanent’ home for the post office was two decades away. George Sim Junior is acknowledged as our first postmaster; he opened a post office on 1 October 1884 in his father’s general store at 619-621 Canterbury Road, a few doors down from the Surrey Hills Hotel on the corner of Union Road. Over the next 20 years, the Surrey Hills Post Office moved several times into temporary, shared accommodation – in 1889 into Woodhead’s Corner Store at 364 Canterbury Road; then in 1895 to No 376, Hansen’s Exchange Building, part of Hansen’s Terrace (demolished) and in 1901 to 109 Union Road, on the corner of Windsor Crescent. Following Federation in 1901, the new Commonwealth Government established the Postmaster-General's Department to provide postal services to the nation. Many of the post offices constructed in the following years reflected a growing sense of Australian pride and nationalism. It was 1914 when building commenced on the ‘purpose-built’ post office at 609 Canterbury Road, Surrey Hills. Described as “a polychromatic Federation Freestyle building”, it served as the local post office for nearly 85 years until sold by the Commonwealth Government in c1999, after which the post office moved to the current, less prominent site at 100 Union Road. For nearly 10 years under private ownership, the building was successfully adapted for use as the base for two businesses, Gargoyles and Dragons and later the Surrey Sculpture Studio, and fortuitously the historic integrity of the building was maintained. However although renovated in the 1990's, structurally sound and of historic significance, it was not protected under local or commonwealth heritage legislation and was demolished soon after sale. This is an early image of a demolished building which should have been protected. In 1991, when the City of Camberwell conducted a heritage study, (which still informs the basis of the City of Boroondara’s heritage guidelines for this part of the municipality,) the post office was owned by the Commonwealth Government. As such, it could not be considered for heritage listing by the local authorities. Some years later, the Commonwealth and Australia Post rather belatedly recognized not only that post offices have heritage and social value, but also that the architecture of post offices as community buildings is important. A heritage management scheme was developed for the buildings they own or control under the Environment Protection and Biodiversity Act 1999. Unfortunately, the Surrey Hills Post Office had been sold and demolished before this was finally enacted in 2004. Black and white image, perhaps from a post card, of Surrey Hills post office at 609 Canterbury Road. The building is flanked by a picket fence. There is a woman, a dog and a man in front of the entrance. The man is in uniform - possibly a postal employee.post offices, canterbury road, businesses, surrey hills post office, surrey sculture studio, gargoyles and dragons -
Bendigo Historical Society Inc.
Book - COHN BROTHERS COLLECTION: BOOK OF DIVIDEND LIST
Cohns Bros book of dividend lists commencing 55th, 1915 - 79th, 1930. Inside front page attached receipt No L8728 re Asher Salaman trust dated 7th December 1916. Also attached receipt dated 13th January 1925 re estate of Catherine Hayes. Names and addresses of shareholders listed over 1915-1930 period. Attached payment slip name of M Cohn, Union Bank of Australia Limited dated 18th June 1925. Attached payment slip name Mrs Harriet E Richmond dated 18th June 1925. Attached payment slip name Mrs E M W Watson. Attached payment slip, J P & H L Hyland dated Dec 1924. Payment slip attached name E M Wilmott Watson Dec 6th 1924. Payment slip attached name C P W Dyring dated 21 / 6 1924. Payment slip attached name Jp & H L P Hyland dated 21st June 1824. Payment slip attached name I F hyland dated June 23 1923. Attached pencilled handwritten absenttees named Watson, Browne. Attached handwritten note pertaing to distribution of monies to E M Watson & Browne. Attached handwritten note pertaining to E M W Watson L W Browne L M Landishut. Two attached payment slips Dated 6th June 1916, June 17th 1916 name E Watson.bendigo, industry, cohn bros brewery, cohns bros dividend lists no 55 1915- 79th 1930. cohns shareholder names and addresses listed 1915-1930 -
Bendigo Historical Society Inc.
Document - MCCOLL, RANKIN AND STANISTREET COLLECTION: TENNANT CREEK, 1938
McColl Rankin & Stanistreet, Tennant Creek. a/ Envelope from Commercial Union Company Limited, Melbourne. Addressed to Tennant Creek. b/ Letter inside addressed ,dated 23//8/1938, addressed to W Studderd from Gerald J Pigott Letter is introducing Mr F Stanistreet (Bendigo) whom he met on M V Korlana. Mentions holidaying in Java, Malaya & Sumatra. Mr Stanistreet is a pastoralist engaged I sheep raising, will be passing through via Alice springs and Adelaide. His brother a mining man requested him to convey his impressions of the Tennant field. Goes on to ask him to assist where he is able. (written on blue writing paper). c/ Also enclosed in envelope a, was a envelope with a letter inside, on the front addressed to L N Studderd, Esq., Mining Warden, Tennant Creek. Written on the left side, for J J Stanistreet. On back of envelope message to W Studderd. Letter tells about the iron mine in Tennant Creek, the shortage of water, investors, size of mine, water bores, approach to town. d/ Letter from J J Stanistreet Sent, Re Tennants Creek Mines NT. Letters tells how he has seen Tennant Creek mines which have been going for 4 years & holding its own, gold found in pockets, no deep reef has been located so far, Mr Stoddard indicated no field, only gouges shows - that is few men to each shaft, water very scarce cover only.organization, business, mine, mccoll rankin & stanistreet tennant creek mr f stanistreet pastoralist sheep raising w studderd gerald j pigott m v korlana tennant field l n studderd, esq., mining warden, tennant creek gold found in pockets the field was a gouges show -
Melbourne Tram Museum
Document - Personal Papers, Melbourne & Metropolitan Tramways Board (MMTB), 9 Acts of the Victorian Parliament that involved the MMTB and other tramways, 1930's
Book - dark green card stippled cover, bound with 9 Acts of the Victorian Parliament that involved the MMTB and other tramways. Acts have been sewn into the book with glued end papers. Contains the following Acts: 1. - Act 2920 - Purchase of Goods and Machinery of Materials for Works undertaken or on behalf of certain local authorities - 22/10/1917 - bound all the Trusts and other authorities to purchase items made in the Commonwealth over 250 pounds unless certified by the Minister. 2 - Act 2995 - Melbourne and Metropolitan Tramways Act 1918 - set up the MMTB - 7/1/1919 3 - Act 3074 - Act to amend the above Act - 28/9/1920 4 - Act 3023 - ditto - 16/12/1919 5 - Act 3243 - construction by the MMTB of an electric tramway from Melbourne to West Brunswick - 21/12/1922. 6 - Act 3247 - relating to the works and undertakings of The North Melbourne Electric Tramways and Lighting Company Limited in the Municipal District of the City of Melbourne and the City of Essendon - 21/12/1922 7 - Act 3308 - Act to amend the MMTB Act - 18/12/1923 8 - Act 3367 - ditto - 15/12/1924 9 - Act 3583 - authorise the construction by the MMTB of an Electric Tramway in Racecourse Road, Melbourne - 21/8/1928 Unknown who made the book - made for an MMTB officer. Binds the original Act's printed by the various Government Printers at the time. See also Reg Item 2121 for other Acts associated with the MMTB.Inside front cover on first page in ink "Mr. J. Cass" and in other locations as well.trams, tramways, tramways, acts of parliament, mmtb, nmetl, west coburg, construction, racecourse rd -
Federation University Art Collection
Work on paper - Artwork, Bruno Leti, 'These Trees' by Bruno Leti, 2015
Bruno LETI (1941- ) Born Rome, Italy Arrived Australia 1950 Bruno Leti was nine years old when he came from post World War Two Italy. Known as a painter, printmaker, photographer and publisher of artists’ books, he studied at RMIT, studying Printnaking under Tate Adams, and Melbourne Teachers' College. He has taught art in Italy, Canada, USA, and Melbourne, Australia. Bruno Leti lives and works in Melbourne. 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.This etching by Bruno Leti was exhibited as part of "Parallel Prints", a limited edition print project which presents the same exhibition simultaneously in New Zealand, at Art at Wharepuke and at a gallery in another part of the world. Eleven Australian artists were invited to join New Zealand-based printmaker Mark Graver to contribute to a portfolio that will be shown simultaneously at Art at Wharepuke, New Zealand and the Art Gallery of Ballarat, Victoria. Using the uniqueness of the reproducible print allows for the same works to be viewed at the same time on opposite sides of the world. This highlights the democratic nature of printmaking and questions the aura of the unique. Which venue is showing the 'real' work? Which the reproduction? The Australian artists showing alongside Mark Graver are James Pasakos, Bruno Leti, Martin King, David Frazer, John Neeson, Antonietta Covino-Beehre, Deborah Klein, Deborah Williams, Melissa Smith, Jodi Heffernan and Susanna Castleden. The original concept, Parallel Prints NZ-UK in 2013, included invited artists from the UK and New Zealand. It featured the work of twelve diverse artists presented in a portfolio set. Each artist contributed one work on 300 x 300 mm paper in an edition of thirty-six. Part of the concept behind the project was to donate twelve of the portfolio sets to international collections. Institutions that have accepted a portfolio include the Victoria & Albert Museum and The Ashmolean Museum in the UK, the Jinling Museum of Art in Nanjing, China, and the Whangarei Art Museum, in New Zealand. In 2015 a portfolio set was donated to the Federation University Art Collection.trees, printmaking, etching, bruno leti, artist, artwork, parallel prints, landscape -
Seaworks Maritime Museum
Certificate, Presentation certificate to Joseph Twohig
(GBR flag, regd Lowestoft, ON 386484, c/s MWUO5, 1641 GRT, 493 NRT)Howard Smith Presentation Certificate. Framed and illuminated certificate of appreciation for 'Joseph Twohig' for his service with the Howard Smith Company. [Original held behind the print in the frame]. Certificate is hand signed by several persons. Certificate consists of an oval image of a transition ship at the top with several other images of ships surrounding the text. A chain surrounds the outer edge of the certificate. Frame is heavily gilded and features raised 'C' scrolls and acanthus leaves around the outer border edge of the frame.Circa 1890.Joseph Twohig Esq./ Head Wharfinger,/ Howard Smith Company LTD/ Melbourne/ Dear Sir/ On the occasion of your voluntarily relinquishing the position/ you have held for the past 32 years as Head Wharfinger to the Howard/ Smith Company Limited, Melbourne, we, the undersigned of your fellow/ employees who have been long and closely associated with you, desire to/ express our appreciation of your sterling qualities/ Your high sense of honor and integrity have won the esteem of all/ of us, and in every way your life among us has been one calculated to/ improve all who are willing to take pattern by it/ we sincerely trust that, after your long and arduous labors, the/ Almighty will be pleased to spare you many years to enjoy the fruits/ of your toil/ We are, Dear Sir/ Yours most sincerely -
Vision Australia
Certificate - Text, Certificate of Quality Assurance System registration, April 2003: 557 St Kilda Road, 1 April 2003
As part of management standards to adhere to best practice, RVIB went through the certification process to receive ISO accreditation within its offices.1 certificate with signatures and stampCertificate reads "Certificate of Registration. Royal Victorian Institute for the Blind Limited, 557 St Kilda Road Melbourne, VIC 3004 Australia (refer to Schedule of Addresses dated March 20 2003 for additional certified sites) complies with the requirements of AS/NZS ISO 9001:2000 Quality Management Systems Requirements for the following capability: This registration covers the Quality Management System for the provision of case management, production, resources, and support services including education, course development and provision of training, rehabilitation, employment, technology, information and fundraising for people who are blind or vision impaired. The registration also includes the provision of commercial products and services through RVIB Enterprises." Signed: Alex Ezrakhovich, General Manager Certification. Certificate #: QEC12897. Issue Date: 1st April 2003. Certified Date: 29th December 1999. Expiry Date 19th March 2006.royal victorian institute for the blind, awards -
Vision Australia
Photograph - Image, AFB Mildura plaques, 1996
Radio was a key way of communicating with the blind and low vision community across Victoria, ensuring that news and information could be shared quickly and publicly. Some centres raised funds to develop their own studios, with local content programs, based in AFB offices. Mildura began 3MPH in 1998 as the result of major fundraising for equipment and support from AFB. Additionally a low vision clinic was also officially opened in that same year.3 plastic plaques with black writing on silver background3MPH Major Donors The Association for the Blind wishes to thank the following major donors who contributed towards the establishment of 3MPH Rotary Club of Mildura Deakin Inc Wentworth Shire Council Lions Club of Mildura The H & L Hecht Trust W C F Thomas Charitable Trust Mildara Blass Limited 3MPH Honorary Taskforce Members Shirley Penny, Chairperson, Kevin Ashelford, Lois Beckwith, Rob Duffield, Cr Don McKinnon, Ross Lake, Bruce Penny, Cr Eddie Warhurst This plaque commemorates the official opening of the Mildura Low Vision Clinic by the Chief Executive Officer of the Association for the Blind Mr John Cook, 5th August 1998. This plaque commemorates the official opening of Radio 3MPH 107.5FM by the Mayor of the Mildura Rural City Council, Cr Eddie Warhurst, 12th March 1998.association for the blind, 3mph, mildura -
Hawthorn Historical Society
Certificate, Nurses Certificate Children's Hospital, 1916
Harriet Cecilia Hordern Williams (1889 - 1968) was the grand-daughter of William Hordern (1830 - 1881) and Cecelia Monger (1830 - 1914). William Hordern was the sixth of seven children of Anthony Hordern Snr. who established the Anthony Hordern & Sons department store in Sydney which operated from 1923 to 1970. Harriet's mother Cecilia (1854 - 1934) was married to Christopher Williams. Harriet's uncle William was appointed commissioner of the Supreme Court of South Australia in 1903. Her cousin Doris Amelia Hordern (1889 - 1970), as Doris Blackburn won the Federal seat of Bourke in 1946 following the death of her husband who had previously held the seat. This branch of the Hordern family has a strong connection to Hawthorn through their home "Stramshall" in Auburn Road Hawthorn and also with the Auburn Baptist Church. Harriet Williams enlisted in the Australian Army Nurse in December 1916 and served as a Staff Nurse until her marriage in London in 1919. This certificate is significant to the history of Hawthorn and Australia through its connection with the Hordern family, the home Stramshall in Hawthorn and with the Auburn Baptist Church. It is significant to the history of the Royal Children's Hospital Melbourne as an example of early 20th century training protocol, in the persons who signed the certificate and the photographs of the hospital buildings of that time. Leather bound certificate of two pages hinged together as a book. Gold lettering embossed on the front. Gold ornamental border embossed on front and back. Inside a personalised presentation certificate on one page. Second page has photographs of the Melbourne Children's Hospital circa 1916.Certificate Reads: Childrens Hospital/ Training School For Nurses/ Melbourne October 5th 1916 This is to certify that Harriet Cecilia Hordern Williams has attended the prescribed course of Three Years Teaching at the Training School for Nurses in connection with the Childrens Hospital and has passed the examinations necessary for registration as a TRAINED NURSE. Signed by: Lalla Williams - Signature of Nurse M. J Turnbull, President Cora C. Oakden , Honorary Secretary Examiners: F. Hobill Cole M.D. A. Jeffreys Wood M.D. E. Alan Mackay M.B.B.S. Douglas Stephenson M.D.M.S. A. E. Rowden White M.D. Stuart W. Ferguson M.D. Captions on the photographs read: Convalescent Home Brighton Nurses Home Children's Hospital Princess May Pavilion Red Cross with banner beneath reading BY LABOR MUST THE PRIZE BE WON Printed on certificate: Sands & McDougall Limited Melb.childrens hospital, certificate, nurse, hordern, williams, hawthorn, harriet williams, lalla williams, rowden white, cora oakden, hobill cole, jeffreys wood, mary jane turnbull, alan mackay, douglas stephenson, stuart ferguson, brighton convalescent home, princess may pavilion -
Wodonga & District Historical Society Inc
Ceramic - Ceramic Plate Commemorating the 150th Anniversary of Victoria 1984-5
The ceramic plate commemorates the 150th anniversary of the State of Victoria, with an original painting of the Royal Exhibiton Building in Melbourne on the front, by the Victorian artist Charles McCubbin (1930-2010). Charles McCubbin was the grandson of the Australian painter Frederick McCubbin (1855-1917). The ceramic plate commemorating the 150th anniversary of the State of Victoria has state and national signifcance as one of 5000 plates worldwide released by the Moliver Collection. It also has artistic signifcance as there is an original painting of the Royal Exhibition Building in Melbourne on the front, by the well known Victorian artist Charles McCubbin, who was the grandson of the renowned Australian painter Frederick McCubbin.Blue and pink toned circular ceramic plate commemorating the 150th anniversary of Victoria in 1984-5. Front: An original painting of the Royal Exhibition Building in Melbourne, signed by the artist Charles McCubbin, with an inscription around the top and bottom edges. Chip in the edge of the ceramic below the date 1984-5. Back: Text about the plate commemorating the 150th anniversay of Victoria with an original painting by Charles McCubbin and his signature, as well as the Plate No. 0404 and trade marks of the Moliver Collection, Westminster Fine China, Australia and Victoria 150.Front: "To Commemorate the 150th Anniversary / of Victoria 1984-5" - around the top and bottom edges of the plate. "Charles / McCubbin" signature above the date 1984-5. Back: "The Official Plate Commemorating / Victoria's 150th Anniversary. / Officially endorsed by the Victorian Government / and the 150th Anniversary Board. This plate is one / of a limited edition of 5,000 plates worldwide released / by The Moliver Collection / Original painting by Charles McCubbin." - on the upper part of the back of the plate. "THE MOLIVER / Victoria 150 Years / COLLECTION" - on the centre of the back of the plate. "M / THE MOLIVER COLLECTION - on the proper left side of the back of the plate. "Charles McCubbin" - signature in the central part of the back of the plate. "FINE CHINA / Westminster / AUSTRALIA" - on the proper right side of the back of the plate. "Plate No. 0404" - on the lower proper left side of the bakc of the plate "VICTORIA 150 / GROWING TOGETHER 1984-5" - on the lower central part of the back of the plate.victoria 150 years, charles mccubbin, commemorative ceramics, royal exhibition building, the moliver collection, westminster fine china, victoria 150 -
Flagstaff Hill Maritime Museum and Village
Decorative object - Bookends
The individual eagles in this pair of Napoleonic Eagle bookends are made so that each eagle faces the opposite direction to the other, one left and one right. The Napoleonic Eagle is the name given to the eagle symbol used by Napoleon Bonaparte 1799-1815 and the French Regiments, mounted on a standard to represent the honour and pride of fighting French men. It is believed that the Napoleonic Eagle was chosen as a symbol for the Tamar Bank in Launceston, Tasmania, established in 1834. The bank was formed after the separation of one of the branches of the Bank of Van Diemen’s Land. The Managing Director in 1834 was Lewis Gilles, previously a naval officer. Other directors were T. Williams, M. Connolly, F. D. Wickham, and P. Oakden. The bank was dissolved in 1838 and became the basis of the Launceston branch of the British-founded Union Bank of Australia Limited, established in 1837 and had its own emblem. The Union Bank of Australia merged with the Bank of Australasia in 1951 and went on to eventually become part of the Australia and New Zealand (ANZ) Banking Group. The Bank of Australasia was incorporated by Royal Charter of England in March 1834. It had its Australian beginning on 14th December 1835, opening in Sydney. The Acting Superintendent of the bank at that time was David Charters McArthur. He was Superintendent from 1867 to 1876. The Melbourne branch opened on 28th August 1838 in a two-roomed brick cottage on the north side of Little Collins Street. By 1879 the bank had been upgraded to a magnificent two-storey building on the corners of Collins and Queens Streets, with the entry on Collins Street. In 1951 the Bank of Australasia amalgamated with the Union Bank to form the Australia and New Zealand Bank, now known as the ANZ. Then in 1970, the ANZ merged with the ES&A and the London Bank of Australia to form the ANZ Banking Group Limited. The ANZ Banking Group Ltd kindly donated to Flagstaff Hill various historic items from the Bank of Australasia. BANK of AUSTRALASIA, WARRNAMBOOL – In 1854 Warrnambool had two banks, the Union Bank and the Bank of Australasia. Later, completely different bank businesses opened; in 1867 the National Bank of Australasia, then in 1875 the Colonial Bank of Australasia. The original Warrnambool branch of the Bank of Australasia was established in July 1854, and operated from a leased cottage on Merri Street, close to Liebig Street. The bank next bought a stone building previously erected by drapers Cramond & Dickson on the corner of Timor and Gibson Streets. Samuel Hannaford was a teller and then Manager at the Warrnambool branch from 1855 to 1856 and the Warrnambool Council chose that bank for its dealings during 1856-57. In 1859 Roberts & Co. was awarded the contract to build the new Bank of Australasia branch for the sum of £3,000; the firm built the Warrnambool Post Office in 1856 and purchased land in Timor Street in 1858. The land was on a sand hill on the northeast corner of Timor and Kepler Streets and had been bought in 1855 by investor James Cust. The new building opened on May 21, 1860. The bank continued to operate there until 1951 when it merged with the Union Bank to form the ANZ Bank, which continued operating from its Liebig Street building. Warrnambool City Council purchased the former Bank of Australasia building in 1971 and renovated it, then on 3rd December 1973 it was officially opened as the Art Gallery by Cr. Harold Stephenson and Gallery Director John Welsh. The Gallery transferred to the purpose-built building on Liebig Street in 1986 and the old bank building is now the Gallery Club. Staff at the Bank of Australasia in Warrnambool included the following men but others were also involved: Samuel Hannaford, Teller then Manager from 1855-1856; Hawkins, Manager in 1856, W H Palmer, Manager from January 1857 until November 1869 when the Teller Basil Spence was promoted to Manager; H B Chomley, Manager from April 1873 and still there in 1886; A Butt, Manager in 1895-1904; J R McCleary Accountant and Acting Manager for 12 months, until 1900; A Kirk, Manager 1904; J Moore, staff until his transfer to Bendigo in December 1908; J S Bath was Manager until 1915; C C Cox, Manager until April 1923; Richard C Stanley, Manager 1923 to April 1928. This pair of Napoleonic Eagle bookends represents the type of ornaments appropriate for 19th and 20th-century business associated with finance and commerce. They symbolise strength, reliability and power. It is believed that the Napoleonic Eagle was the seal of the Tamar Bank, established in 1834 in Launceston, Tasmania. The Tamar bank was taken over by the Australia-wide Union Bank in 1838, which later merged with the Bank of Australasia, which had a branch in Warrnambool. In 1851 it became the Australia and New Zealand Bank, which is still active in Warrnambool in 2023. Bookends; two (2) black metal eagles, standing, beaks open, tail to the side, wings spread, claws open. The black figures are cast metal and the backs are hollow, with flat even edges. The front is textured and shiny. The eagles are facing opposite directions; one left, one right. The figures are commonly known as Napoleonic eagles.flagstaff hill maritime museum and village, warrnambool, great ocean road, shipwreck coast, bookends, eagle bookends, napoleonic eagles, tamar bank, launceston bank, bank of australasia, eagle symbol, 1834-1838, commerce, financial institution, colonial bank, lewis gilles, m. connolly, f. d. wickham, and p. oakden., t. williams, anz bank, australia and new zealand bank, union bank of australia -
Mission to Seafarers Victoria
Souvenir - Cup, Margaret Woodward, 2015
Margaret Woodward is a an artist and an an associate professor of design at Charles Sturt University. Artist statement: "The Sea is All Around us is a multi-layered event which creates a memorable experience for those visiting the Dome Gallery and the Mission to Seafarers in Melbourne’s Docklands. The event acknowledges and raises awareness of the often difficult and dangerous working lives and journeys of seafarers by making visible their role in transporting commodities, materials and objects to and from Australia’s shores. This installation at the Dome Gallery in the Mission to Seafarers in Melbourne’s Docklands marks the third stage of an ongoing research project which seeks to reveal the ‘social life’ of souvenirs. Beyond their representational role souvenirs also trigger intangible, affective qualities – reminders of journeys and places, new associations with tastes, sounds and people, and thereby becoming objects which focus and hold memories. This installation invites seafarers and visitors to participate in a global project which aims to witness sea journeys and trace the mobile life of seafarers and souvenirs. For a fortnight in May 2015, the Dome Gallery became an architectural large scale compass, with the circular floor marking the intersection of its latitude and longitude (37 º 49'21" S 144º 57'03"E). Over these two weeks the Dome Gallery was inscribed with marks recording journeys made by seafarers, recording destination and departure ports, home lands and waterways, and in doing so making visible a small segment of the global patterns of seafaring. Custom-made souvenirs designed for the installation are given to seafarers as gestures of welcome and a memento of their visit. The souvenirs originating in Poland continue their journey by sea, to destinations beyond the Dome becoming part of the global network of seafaring, with an invitation for seafarers to record their future journeys using QR code scanning technologies. It is hoped that by releasing the 200 limited edition souvenirs accompanying the seafarers the mobile life of souvenirs and seafarers will also become visible. Like messages in bottles they leave our shores, becoming ambassadors, representing the Dome Gallery at the Mission to Seafarers, the waters of Port Phillip Bay, Australia’s red soil and vegetation, and carrying memories of visiting Melbourne." The Mission has always been open to the community and has a tradition of hosting cultural events: shows, concerts, exhibitions, festivals.Orange enamel and teal mug created for the art installation by artist Margaret Woodward at the Mission to Seafarers. On one side it is decorated with a compass and a latitude and longitude; on the opposite side, a leaf, a QR code on the bottom takes you to the website.Written at the bottom of the mug: Please scan to map the journey of this souvenir * www.sensingtheremote.net *2015cultural events, norla dome, mso, 2015, art installation, margaret woodward -
Mission to Seafarers Victoria
Booklet - Catalogue, Margaret Woodward, The Sea is All Around us, 2015
Margaret Woodward is a an artist and an an associate professor of design at Charles Sturt University. Artist statement: "The Sea is All Around us is a multi-layered event which creates a memorable experience for those visiting the Dome Gallery and the Mission to Seafarers in Melbourne’s Docklands. The event acknowledges and raises awareness of the often difficult and dangerous working lives and journeys of seafarers by making visible their role in transporting commodities, materials and objects to and from Australia’s shores. This installation at the Dome Gallery in the Mission to Seafarers in Melbourne’s Docklands marks the third stage of an ongoing research project which seeks to reveal the ‘social life’ of souvenirs. Beyond their representational role souvenirs also trigger intangible, affective qualities – reminders of journeys and places, new associations with tastes, sounds and people, and thereby becoming objects which focus and hold memories. This installation invites seafarers and visitors to participate in a global project which aims to witness sea journeys and trace the mobile life of seafarers and souvenirs. For a fortnight in May 2015, the Dome Gallery became an architectural large scale compass, with the circular floor marking the intersection of its latitude and longitude (37 º 49'21" S 144º 57'03"E). Over these two weeks the Dome Gallery was inscribed with marks recording journeys made by seafarers, recording destination and departure ports, home lands and waterways, and in doing so making visible a small segment of the global patterns of seafaring. Custom-made souvenirs designed for the installation are given to seafarers as gestures of welcome and a memento of their visit. The souvenirs originating in Poland continue their journey by sea, to destinations beyond the Dome becoming part of the global network of seafaring, with an invitation for seafarers to record their future journeys using QR code scanning technologies. It is hoped that by releasing the 200 limited edition souvenirs accompanying the seafarers the mobile life of souvenirs and seafarers will also become visible. Like messages in bottles they leave our shores, becoming ambassadors, representing the Dome Gallery at the Mission to Seafarers, the waters of Port Phillip Bay, Australia’s red soil and vegetation, and carrying memories of visiting Melbourne." The Mission has always been open to the community and has a tradition of hosting cultural events: shows, concerts, exhibitions, festivals.Small flyer in PDf for the art installation by artist Margaret Woodward at the Mission to Seafarerscultural events, norla dome, mso, 2015, art installation, margaret woodward -
Glenelg Shire Council Cultural Collection
Document - Military Submission, John Ferres, Government Printer, Defences of the Colony, 1864
1864 group of 4 submissions bound in to one document. Heavy paper sewn together with twine, black print on white.portland battery, military, major scratchley, commodore wiseman, governor, john ferres -
Flagstaff Hill Maritime Museum and Village
Domestic object - Spoon, Walker & Hall, C.1910-1920
This electroplated teaspoon made by Walker & Hall of Sheffield. It was recovered from an unknown shipwreck in the coastal waters of Victoria in the late 1960s to early 1970s. The shipwrecks in the area range from around the 1840s to the early 1930s. It is part of the John Chance Collection. Walker & Hall’s Marks on this teaspoon, the SHIELD and the FLAG, date the spoon between 1910 and before 1920. The letters, possibly N S, within a shield may stand for Nickel Silver. The first Sheffield licence to make electroplated pieces of work was granted to John Harrison in 1843. One of his employees, George Walker, had been sent to learn electroplating skills at Elkington’s in Birmingham, who had patented the process discovered by Dr John Wright. Walker left Harrison in 1845 and started up his own company with Samuel Coulson and William Robson, to become George Walker & Co., electro-platers and gilders, taking out a licence with Elkington’s. In 1848 Robson retired and Henry Hall joined the partnership, operating at Electro Works at 11 Howard Street Sheffield, with a showroom in at 45 Holborn Viaduct, London. The firm had changes in the partnership and by 1853 it was called Walker & Hall. Over the years the company grew, with branches in the UK and overseas in Australia and South Africa. Then John Bingham, and later his brother Charles Bingham, became involved in the business, increasing profits. In 1861 the firm registered its first Trademark, a stamped ‘Flag’ with a banner with letters ‘W & H’. In 1884 Walker & Hall were one of the largest manufacturers and the second to introduce a voluntary system of using dating marks for silver plate, based on the alphabet and styles of shields or figures. The firm grew and prospered. It was described as ‘comprehensive … touching almost every department of Social life’, selling all manner of silverware and other goods. In 1920 the firm became Walker & Hall Limited and continued to expand in the goods produced and the member employed. Then the effects of war brought economic depression and fewer people able to afford the quality luxury goods. Eventually, in 1963, the company amalgamated with Mappin & Webb and Elkington & Co., becoming British Silverware Ltd. Although the spoon is not linked to a particular shipwreck, it is recognised as being historically significant as an example of cutlery, perhaps part of a passenger’s luggage or imported for use in Victoria in the early 20th century. This spoon is significant for its association with makers Walker & Hall, famous for silverware and silver plate in the mid-19th to early-20th century. It is the only example in Flagstaff Hill’s shipwreck artefact collection. The spoon is also significant as it was recovered by John Chance, a diver in Victoria’s coastal waters in the late 1960s to early 1970s. Items that come from several wrecks have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value. Spoon, teaspoon, electroplated, silver-bronze colour with dark flecks. Old English design. Maker’s Marks on back of spoon. Made by Walker & Hall, Sheffield.Embossed individual stamps “W”, “&”, “H”, “S” Embossed shape [SHIELD] with letters within, possibly “N S” Embossed shape of [FLAG] with letters with “W & H” flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, john chance, sheffield, cutlery, eating utensils, electroplate, silver plate, silverware, flatware, antique flatware, old english flatware pattern, spoon, teaspoon, silver flatware, dining, silver plated, epnns, 20th century silverware, walker & hall, george walker, henry hall, john wright, elkington -
Wodonga & District Historical Society Inc
Plaque - Plaque 1981 Rotary International Pacific Region Conference, Betty L. Barberis
This item was donated to Wodonga Historical Society by the artist, Betty L. Barberis. Betty Barberis nee Barton was one of 12 children born to Roderick Barton and Myrtle Ann Hore of Gundowring in the Kiewa Valley. She was born in 1927 and attended Upper Gundowring Primary School. Betty was encouraged to enter a project for the "Young Farmers" by illustrating a book. She won first prize for Victoria and the book was exhibited at the Royal Melbourne Show. This resulted in Betty attaining a Manual Art Teacher's Studentship which she completed at Wangaratta Technical School. Here she learned many new skills ranging from garment design to ceramics. She also attended Melbourne Teachers College. Betty created many decorative banners, the first being for the Australian section of the World Scout Jamboree in 1948. Over her long career she was to create many other banners and commissioned work for significant organisations and institutions . Betty’s great body of work included landscapes, millinery, ceramics, and a bronze sculpture of her husband Vern Barberis who was a fellow schoolteacher and represented Australia as a weightlifter, winning a bronze medal at the Helsinki Olympics in 1952. She also illustrated several books and had exhibitions in many galleries including in Albury. Betty passed away at The Grange, Wodonga on 26 November 2013. The 1981 Rotary International Pacific Region Conference was held in the Royal Exhibition Building, Melbourne, between 26 and 29 November 1981. More than 5,000 Rotarians from around the Pacific attended the conference in Melbourne to discuss 'The Future of the Pacific Region'. Speakers included the Honourable Malcolm Fraser, Rotary International President Stan McCaffrey, President Elect Horoji Mukasa, Ranald McDonald, representing the media, Sir Ian McLennan, representing industry, Japanese former Ambassador Nobuhiko Ushiba and Philippines Deputy Consul General Mrs Minerva Falcon, both representing diplomatic services, as well as other Rotarians. A limited number of plaques were produced from quality imported porcelain.This item represents a major event held in Melbourne for Rotary International and is also the work of a prominent artist from the Wodonga district.2 ceramic plaques designed by Betty Barberis for the emblem of the 198T Rotary International Pacific Region Conference held in Melbourne in 1981. The plaque bears the Rotary emblem, slogan and other text as well as an image of a kangaroo and lyre bird.In top banner: "SERVICE - ABOVE - SELF" In central circle: "ROTARY INTERNATIONAL" around 1981 In lower banners: "PACIFIC REGIONAL CONFERENCE / MELBOURNE AUSTRALIA".betty barberis, rotary international, 1981 rotary international pacific region conference -
Bendigo Historical Society Inc.
Document - LISTS OF ITEMS AUCTIONED AT BENDIGO MINES
Typed copies of catalogues of items to be auctioned at the following mines: South Red, White and Blue 12th April 1938 Central Blue 28th October, 1941 at 11 a.m South Virginia Extended (found inside Central Blue catalogue) Big Blue 21st November, 1939 at 10.30 a.m Golden Transverse Bendigo 3rd September 1941Yandoit Co 19th April 1939 Chapman's Gold Mine Chewton 8th February 1939 Ross Creek Extended G.M. Coy 18th August 1938 Ross Creek Extended G.M.Coy Ross Creek Mines Account Mines Dept Pitfield Plains, Glenfine South Shaft Adelong Dredge and leases 10th February 1943 Bright Valley Dredge 9,10th February 1943 Exchequer Extended North Chewton 18th October, 1939 Talbot Alluvials Norbury's No. 2 shaft 5th May 1941 Gordon Gold Mine Inglewood 30th April 1940 Postg Office Hill Mine Chewton 7th February 1940 Carlisle & Whittaker Plant Buninyong Rand Yandoit Mine North Chewton 19th October 1939 Spring Gully Mine Chewton 14th Decembert 1938 Eureka Central Chewton 26th February 1941The Golod Mine Clunes 15th March 1941 Guildford Plateau 20th Novemer 1940 New Long Tunnel Walhalla 12th February 1941 Napoleon BML 28th October 1941 Alfords Battery Hercules No. 1 Mine 12th February 1942 Ramrod Gold Mine Bendigo 19th March 1942 Bendigo Amalgamated Goldfields Limited 10th and 11th August 1938 Virginia South Extended 1st June 1938 -
Federation University Historical Collection
Book - Booklet, The Institute of Physics Handbook: Exhibition of Scientific Instruments and Apparatus, 08/1960
The Exhibition of Scientific Instruments and apparatus was set up to show the professional scientist the latest tools of trade and glimpses of future developments in the field of instrumentation .Cream soft covered book of 198 pages relating to an exhibition of scientific instruments and apparatus held at the School of Chemistry, University of Sydney. Exhibitors in the exhibition include: Advance components, Airmec, Akashi, Aladdin Industries, Amalgamated Wireless, Applied Physics Corporation, Ardente, Austral Engineering Supplies Pty Ltd, Avo Limited, Baird Atomic, Baker, Baldwin Instrument Co., B. and Relays, Barnstead Still and Steriliser Co., Beckman, Bender, Boonton Radio Corporation, Bosch, British Electric Resistence, British Physical Laboratories, Buccho, Bundenberg, Buehler, Bureau of Analysed Samples Ltd, Business Equipment Pty Ltd, Cambridge Instrument Co, Casella, Chamberlain and Hookham, Cossar, Cooke Troughton, Counting Instruments Co, CSIRO, Dawe Instruments, Difco, Duff and Macintosh, Dumont, Dupree, Dynatron Rodio Ltd, East Lancashire Chemical Co., Edwards High Vacuum Ltd, Eletircal Equipment Australia, Electronic Industries, Electroscientific Industries, Electrothermal Heating, Elema Schonanda, EMI, Englehard, Epprect, ERD Engineering, Ericsson Telephones, Esdaile, Ether Ltd, Evershed and Vignoles, Faraday Electronic Instruments, Federal Products, Filtron, Fischer, Fluke, Foot, Fortiphone, PX Fox, Foxall Instruments, Gambrell Bros, Gardener and Salmon, Garlick, Gelman , Gossen, Griffen and george, Gurr, Guthrie. Hasler, Headland Engineering Developments, Heraeus, Hersey Sparling Meter Co, Hewlett Packard, Heyneco, Hilger and Watts, Instron Engineering, Institute of Physics, Intermetal, Internation Resistance Corporation, Jacoby Mitchell and Co, Janke and Kinkel, JENA-er Glasswerke Schott and Gen, Keithly Instruments, Kelvin and Hughes, Kent, Kipp and Zonene, Kovo, Krautkramer, Kruss, Lambrecht, Land Pyrometers Leeds and Northrup, Leeds Meter Co, Leybold, Liddle and Epstein, Long Industrial Equipment, macdougall, McKinlay Fletcher, McLellan, Marconi Instruments, Masruements, Metrimpex, Metrohn, Metron, Mettler, Mica Corporation, Minneapolis Honeywell Regulator Company, Moisture Regulator, Morganite, Morris, Moseley, Muirhead, Mullard- Australia, Nagard, National Instrument Co, National Standards Laboratory, Negretti and Zamba, Nira, Northeastern Engineering, Nuclear Equipment Ltd, Ronald payne, Philbrick, Philips, Physik Instruments, Pincombe, Precision Tools and Instrument Co., Printed Electronics, Pye, Quicfit, Radion Corporation of Amerixa, Radio Frequency Laboratories, Radiometer, Rank Cintel, record Electric Co., Reichert Optische Werke, Rhode and Schwarz, Ridsdales and Co, Rocol, Rotameter, Rototherm, Rowe, George Sample, Santon, Sanders, Sartorious-Werke, Sauter August, Schneider, Scruttons, SEFRAM, Selby, Sensitive Research, Servomax Controls, shckman, Shimadzu, Siemens, Simpson, Sodeco, Soiltest, Solartorn, Southern Instruments, Albert Speck, Stanford X-Ray, Sunvic Controls, Sweda, Sydney County Council, Tamson, techne Cambridge, Tektronix, Telefunken, Telequipment, Andrew Thom, Thompson J, Langha,, Thronethwaite, Tinsley, Tokyo Opptical co., Townsen and Mercer, Treacerlab, Tylors, Unicam, Union OPtical Co, Varian Associated, Venner Electronics, Vidler Thornethwaite Engineering, Crosweller, Wandel and Golterman, Watson Victor Limited, Wayne Kerr Laboratories, waveforms, West Instruments, Herman Wetzer, Wild Instrument Supply Co, Yokagawa Electrical Works, Carl Seiss, Zwick.science, instruments, apparatus, scientific objects -
National Wool Museum
Functional object - Typewriter, Remington Typewriter Company, c.1925
This Remington No.12 typewriter is of the typebar, front-strike class. It was made by the Remington Typewriter Company of Ilion, New York, U.S.A. in about 1925. The Model No. 12 was introduced in 1922 and was one of the first 'visible writer' machines, in which the typed characters were visible to the operator. Previous models were of the upstrike class in which the characters were typed on the underside of the platen. To see what had been typed the operator had to raise the platen, meaning the typist was typing blind much of the time. This machine was used by Margaret Ganly née Burn in the 1930s. It was purchased for her by one of the sons of William Pride, a famous saddle maker in Geelong, William was Margaret’s grandfather. The typewriter was donated with original sales receipt and servicing tools. Margaret worked at Dennys for 7 years during the 1930s. The typewriter is accompanied with a story written by Margaret about her time working at the company. Margret married Jack Ganly, a fellow employee of Dennys. The Ganly name was well known within Dennys, with three generations of the Ganly family working at the company. WORKING CONDITIONS & OFFICE WORK DUTIES. Written by Margaret Burn in 2021. Worked at Dennys Lascelles in the 1930s. In the 1930s coming out of the Depression, jobs were hard to come by and had to be clung to by efficiency and subserviency. There was no union to protect workers – bosses could be tough and rough. Dennys Lascelles revolved around fortnightly wool sales in the “season” – September to May. Sale day was always a day of suppressed excitement. Preparation from a clerical point of view was complete and we now awaited the aftermath of the actual wool auction. The building teemed with people. There were country people down to see their wool sold, buyers of many nationalities, or from the big cities, who were coming in and out of the building all day. Their role was to inspect the acres of wool bales displayed on the show floors; however, caterers were present to feed clients, and there was plenty of social interactions on top of business. The office staff did not go home but waited until the first figures came back from the wool sales and the machines went in to action, both human and mechanical, preparing the invoices for the buyers’ firms. This comprised of lists of lot numbers, weights, prices per lb., and the total prices paid. A lot of this was done by old-school typewriters, making this work a big, heavy, tiring job. Before the finished lists could be dispatched, they were collated on an “abstract”. The lists had to balance with the catalogue from which the invoices had been prepared. This never happened automatically. All the paperwork had to be split up amongst pairs of workers and checked until discrepancies were found. This would happen until midnight but occasionally went until 2 or 3 am. Once complete, the invoices could then be rushed off to the buyers’ firms usually in Melbourne, and hire cars took the staff home. It was back on the job the next morning, usually around 8.30. The office hours varied according to the size of the sale and work involved. Some days started as early as 8 and could finish around 5.30. The second phase of work began with the account sales to be prepared for the sellers of the wool. These detailed all the weights, descriptions of wool, brands, and prices. One Sales account could have multitudes of lot numbers, all needing to be individually described. Various charges needed to be deducted such as finance for woolpacks, extra stock, or farmers who were given a loan to live on during the season. Details of how payment was to be made was also noted, whether the seller was to be paid by cheque, to a bank, or credited to their account with the company (which often left the seller still in debt). For a couple of months in the winter, things were quieter when staff took holidays and were sometimes given afternoons off. But there were still weekly skin sales and stock sales around the state. The annual end of June figures to be prepared for a big company like Dennys with branches all around the state also kept the staff busy. In good years there was sometimes a bonus. On sale days there was a bar open for the clients and wool buyers. This added to the excitement for the young girls, who were strictly barred from using it, but somehow managed to sneak a gin and tonic. This is how I had my first ever, before the evening meal. There was also the romantic notion in some minds, with all the influx of males, that some of us might end up on a wealthy station, or be noticed by an exotic buyer. To my knowledge, this never happened at Dennys Lascelles Limited. Group staff photo at Dennys Lascelles Limited. Margaret Burn. Age 18 or 19. Jack Ganly (Margaret’s future husband). 22.The typewriter has a black painted metal frame. The top section of the typewriter consists of a cylindrical platen on a carriage featuring plated metal fittings. A curved folding paper guide sits behind the platen and moves on the horizontal axis when the user types on the keyboard. A horizontal semicircular type basket with typebar links the top section to the lower keyboard. The ink ribbon is carried between two spools on a horizontal axis, one on each side of the type-basket. At the rear, a paper tray features gold lettering which reads ‘Remington’. At the front, a four-row QWERTY keyboard is found with 42-character keys total. 'SHIFT LOCK' and 'SHIFT KEY' are to the left of the keyboard, 'BACK SPACER' and 'SHIFT KEY' to the right. All keys are circular, white with black lettering. At the top of the keyboard are five circular red keys with the numbers 1-5 displayed behind their respective keys. A Spacebar is found along the front of the keyboard. The typewriter is accompanied by a cardboard box. This box contains the original sales receipt, on blue paper with grey lead handwriting. It also contains spare parts, a spare ribbon stretched between two spools, and cleaning tools such as brushes of differing sizes. Serial Number. Engraved. "LX45395" Gold lettering. Paper tray. “Remington” Gold Lettering. Behind keyboard. “Made in Ilion, New York, U.S.A. Gold Lettering. Mirrored both sides of type-basket. “12”remington, dennys lascelles ltd, worker conditions 1930s -
Flagstaff Hill Maritime Museum and Village
Ships Wheel, John Hastie et al, Early 20th Century
John Hastie Engineer and millwright John Hastie opened small manufacturing works in Greenock in 1845 and 1853 patented the first self-holding steering gear. The firm became known as John, Hastie and Co. Ltd. in 1898 after taking on limited liability status and their main works were at Kilblain Street, Greenock, where they specialised in ships' steering gear. The company also occupied works at Rue End Street, Greenock. Plans of this unit depict a stockyard to the east, with areas for welding; fitting and assembly; flame, cutting and fabrication; and a machine bay. The company was dissolved in 1991. Brown Brothers Brown Bros Rosebank Ironworks made the steering gears for many large ship's, including The Titanic. Andrew Betts Brown the founder was born in 1741 and closely associated with many improvements in marine engineering. He was educated in his native city and served his apprenticeship as an engineer in the locomotive works of the North British Railway Company at St. Margaret's. During his apprenticeship, he attended the evening classes at Watt College. subsequently going to Manchester to study chemistry. He went to London around 1863 and took over an old brewery, which he converted into an engineering works. During his time there he invented an overhead travelling crane, which was used on the construction of Blackfriars Bridge London. He went on to develop plant which used steam and hydraulic power for discharging ships as a result the company was contracted to install this equipment in Hamburg Docks. By around 1870 he continued to construct machinery in London but realised that conditions were more favourable in Edinburgh. He acquired land at Rosebank adjoining the North British Railway Company's line to Granton, and the necessary infrastructure was completed allowing him to finish the Hamburg contract. The works at Rosebank were eventually extended and added to until they became one of the largest engineering works in the East of Scotland. Mr Brown was a member of numerous engineering institutions, the best known at the time being the Institution of Naval Architects. He was also a Fellow of the Royal Society of Edinburgh, a member of the Institute of Mechanical Engineers and of the Institution of Marine Engineers he died in 1906 at the age of 67.An item made by two marine innovators of marine auxiliary machinery and itemsShip's wheel, brass, attached to brass pillar. Base has 6 holes in it for securing it in place.. Top of ship's wheel pillar has a brass, adjustable, arrow pointer that is positioned over a dial etched into the flat brass surface. The dial reads " PORT STABD". Lines and degrees are marked, with '0' in centre and every 5 degrees, from 0-35, in both Port and Starboard sidesInscription to wheel hub "Brown Brothers & Co. Ltd, Rosebank Ironworks, Edinburgh"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, john hastie, john hastie, andrew betts brown, ships wheel, ship steering gear, marine equipment -
Christ Church Anglican Parish of Warrnambool
Memorial Windows: William & Sarah BATEMAN, 1869
William Bateman Snr was born to parents Daniel Bateman and Patience Wilkinson in Bradford, Yorkshire, England in approx. 1794. He married Sarah Smith on 20th November 1815 in Bradford, Yorkshire, England. They had four children – Patience (Born abt 1817), Daniel (born abt 1819) William (born abt 1831) & James (born abt 1837)all born in England. William Snr and Sarah Bateman and two sons – William and James - arrived in Australia in approx 1853. They brought with them considerable capital/stock and bought into a business in Warrnambool in William Jnr’s name. Bateman & Co rapidly became the largst mercantile business in the area and did rather extensive business with the Banks of Victoria and Australiasia. It is thought that William Snr assisted in the business to some extent, expecially financially. His other son Daniel (who remained in England) is also thought to have had a financial interest in the business as a dormant partner. The business was so prominent, Bateman & Co issued round copper tokens as a Trade Token - value one penny. These were inscribed with the Business name and were limited in their use to the business. In Sept 1856 the business was transferred to a Mr. Thos W. Sellars (nephew of William Bateman Jnr) and shortly afterwards the store closed with an order for the sequestration of the insolvents estate, but was not made absolute until December 1856 when the Insolvency court ruled for the “compulsory sequestration” of the business due to fraudulent activities within the business. But in the meantime in early November fire completely destroyed the business which left only the insurance payouts. Both William Bateman Snr and William Bateman Jnr are listed on the Pioneers’ Honour Board in the foyer of the Warrnambool Library. It is reported William Bateman Jnr was a trustee of Christ Church, was a City Councillor, and was involved in many other community organisations. He also subscribed towards the cost of building a permanent Church which was opened in 1856. William Bateman Snr died in Warrnambool on 30/03/1868 and his wife Sarah died in August 1868. William Bateman Jnr presented to Christ Church, stained glass windows in memory of his parents William & Sarah Bateman. William Bateman Jnr died in June 1913. Four stained glass windows, three lancet and one circular. The theme of the lancet windows depicts the three occasions when the apostles Peter, James and John were Jesus' sole attendants: The raising of Jairus' daughter. On the Mount of Transfiguration. In the Garden of Gethsemane. The circular window in the gable of the wall represents "The Enthroned Christ". -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Manufactured Glass, bottle PURA Cream 4oz, 20thC
There are two distinct types of milk consumption: a natural source of nutrition for all infant mammals and a food product for humans of all ages that is derived from other animals. Milk is a key contributor to improving nutrition and food security particularly in developing countries. Improvements in livestock and dairy technology offer significant promise in reducing poverty and malnutrition in the world. Pasteurization is used to kill harmful micro-organisms by heating the milk for a short time and then immediately cooling it. In the past, milk was always packaged in glass milk bottles The first glass bottle packaging for milk was used in the 1870s. The first company to do so may have been the New York Dairy Company in 1877 with a small glass lid and a tin clip. Lewis P. Whiteman holds the first patent for a glass milk bottle c1884,which was sealed with a waxed paper disk. The Express Dairy Company in England began glass bottle production in 1880. Melbourne Glass Bottle Works Spotswood 1880 - 1990. Milk cartons first came to Australia in 1958, when the Model Dairy in Melbourne began packaging milk in 150 ml and 500 ml cartons. At the time, 160,000 new glass bottles were needed in Melbourne alone every week to keep up the delivery of 1.3 million bottles of milk a day. n 1970, the blow-moulded disposable plastic milk bottle was introduced. In 1987, only about 2% of milk was still being sold in glass bottles. Glass milk bottles are now rare .Melbourne Glass Bottle Works Co Pty Ltd (1903 - 1915) Registered in Victoria in 1903 the company amalgamated with the Waterloo Glass Bottle Works Ltd in 1915 to form Australian Glass Manufacturers Company, Limited. Melbourne Glass bottle works Spotswood 1872- 1915 The Melbourne Glass Bottle Works (former), comprising a complex of buildings constructed between 1880 and 1940, at Booker Street, Douglas Parade, 2-38 Hudson Road, Raleigh Street and Simcock Avenue, Spotswood. The former glassworks was established in 1890 and originally made bottles for pharmacists Felton Grimwade before it was sold to the state government by US multinational, OI glass manufacturers A clear glass 4 oz bottle for PURA Creamery Carnegie. . A waxed cardboard disc lid from Devonshire Dairy Hepburn Springs is not related to this bottle but is an example of the typical lid used during this period Bottle : PURA / CREAMERY / CARNEGIE / CONTENTS 4 OZS Base : 120 Lid circumference : DEVONSHIRE DAIRY HEPBURN SPRINGS:/ Lid centre: PURE MILK/ T.B. TESTED COWS / PHONE 223 melbourne glass bottle works, spotswood melbourne, milk, dairy, dairy produce, dairy farmers, market gardeners, pioneers, early settlers, moorabbin, cheltenham, pasteur louis, pasteurization, pura creamery carnegie, devonshire dairy, hepburn springs, waxed paper milk bottle lids, felton grimwade co ltd, -
Victorian Interpretive Projects Inc.
Photograph - Colour, Stained Glass Windows at St Peter's Catholic Church, Daylesford, 2015, 14/06/2015
"ST. PETER'S CHURCH, DAYLESFORD Last Sunday his Grace the Archbishop confirmed a large number of children at St. Peter's Church, Daylesford. His Grace was assisted by Rev. J. J. Malone, P.P. The congregation included a large number of worshipers from outside districts. A short address delivered by the Archbishop was attentively listened to, and many were the expressions of congratulation extended to his Grace upon his recovery from the indisposition which had incapacitated him from active work recently. At the conclusion of Confirmation the children were treated to refreshments on the lawn in front of the presbytery A large number of parishioners dined with Fr. Malone, and the Archbishop renewed former acquaintanceships. In the evening a mission was opened by the Rev. J. O'Brien and Rev. J. Brown, of the Redemptorist Order. The mission will be concluded on Sunday next. The exercises have been well attended. The interior of this beautiful Gothic church has recently undergone complete decoration, and one of the features that have, received special attention is the stained-glass. The windows consist of eight- two-light with trefoil piece of tracery, and in each is designed one of the following figures:—St, Francis of Assisi, St. Francis Xavier, St. Augustine, St. Monica, St. Stanislaus, St. Aloysius, Our Lady, St. Joseph, St. Patrick, St. Bridget, St. Agnes, 'St. Rose of Lima, St. Ignatius, St. Vincent de Paul, St. Alplionsus Liguori, St. Thomas Aquinas. The figures are set, in medallions formed with richly designed Gothic ornament in the form of crockets surmounted by a cross and crown, while in the tracery immediately above the windows is a monogram of the names of the saints. The figures are richly coloured in glorious antique glass, with the ornamental detail in lovely mellow tones of old gold and pale yellow stains. The whole effect is rich and at the same time restrained in colour. At the base of each window is written the name of the donor. The whole of the work was designed and executed by Messrs. Brooks, Robinson and Co. limited, at their stained-glass studios, Elizabeth-street, Melbourne. The scheme is an original treatment, but at the same time strictly orthodox and Gothic in style. One feature of the work which must be apparent to those who are interested in stained-glass decoration is the maximum effect obtained with a minimum of expenditure." (Melbourne Advocate, 4 December 1909) A number of coloured photographs of the stained glass windows from the interior of St Peter's Catholic Church, Daylesford. The photographs were taken on the day of the 150th anniversary celebrations.brooks, robinson and co, stained glass, st peter's daylesford, church, daylesford, st alplionsus liguori, st thomas aquinas, religion, st agnes, st rose -
Puffing Billy Railway
TACL - Erica State Sawmill Rail Tractor, 1928
TACL-Tractor Appliance Company Limited TACL rail tractors manufactured by Malcolm Moore of Port Melbourne Located in the Parishes of Moondarra and Telbit, Gippsland, the tramway terminated at Collins Siding on the Moe Walhalla 2'6"gauge branch of the Victorian Railways. Its construction by the Forests Commission of Victoria was to facilitate the extraction of timber from the Southern and Western slopes of Mount Erica and to replace the outlet tramways destroyed during the disastrous forest fires of February 1926. Tyers Valley Tramway The line, following the Eastern arm of the river, passed Ingrams Siding (7m.) to terminate at a forest area, known as "Ten Acre Block", 8m. 60c. from Collins Siding. The western branch of the line followed the Western Tyers Valley to Growlers Creek, 13m. 40c. from Collins Siding. THE T.A.C.L. TRACTORS at Tyers Valley tramway. On the 19th January 1928, T.A.C.L. locomotive, purchased from Tractor Appliance Co. Ltd. (Malcolm Moore), was delivered. This unit had a 20 h.p. Fordson engine coupled by a chain drive to the two axles, providing a tractive effort of approx. 2000lbs. Wheelbase was 5’ and weight was four tons. It was intended that the two tractor locomotives, working with the grade, would deliver timber from the branch lines to Tyers Junction, from which place it would be steam hauled out to the Collins Siding transfer point. Following a breakdown of the steam locomotive, haulage during the early months of 1928 was carried out by the T.A.C.L. unit, supplemented by the Nattrass, which was, by this time, becoming unreliable. During April 1928, after ensuring that no suitable locomotive was available in Australia, an order was placed with the Climax Manufacturing Co., U.S.A. for the supply of a geared locomotive. A second T.A.C.L. engine was purchased during May and, on the 27th, the local mill owners, having obtained running rights on the tramway, commenced haulage with the Harman. The three tractor units worked the branch lines and transported ballast, whilst the Harman hauled the timber to Collins Siding in rakes of eight trucks (56 tons). The weekly loading of the line for the first, second and third weeks were 54, 62 and 71 trucks respectively. info from : http://www.nmra.org.au/tyersvalley/Tyers-Tram.html Historic - Industrial Narrow gauge Railway - Timber working - Rail Tractor used by the the Forests Commission of Victoria on the Tyers Valley TramwayRail Tractor with Fordson engine coupled by a chain drive to the two axles - made of steel and wrought ironerica sawmill, puffing billy, tacl, rail tractor, tractor appliance co. ltd. (malcolm moore), industrial narrow gauge railway, tyers valley tramway, forests commission of victoria -
Moorabbin Air Museum
Document (Item) - (SP) CAC History Correspondence between CAC and the British Aviation Group 1935 to 1937
This correspondence relates to Australia possibly buying aircraft from Britain prior to WW2. CAC had decided to build the NA 16 and there was correspondence from Hawker Siddeley expressing their wish to negotiate on future aircraft CAC may manufacture Letter to B Lewis 14/1/1937 from Secretary re Hawker Siddeley Letter from Brian Lewis to Secretary CAC 11/1/1937 enclosing letter from Hawker Siddeley Letter from Brian Lewis to Essington Lewis, CAC 27/2/1937 Letter from Essington Lewis to Secretary CAC 1/3/1937 Letter from Secretary CAC to Brian Lewis 30/11/1937 Letter from Brian Lewis to Essington Lewis CAC 24/11/1937 Letter from Essington Lewis to Brian Lewis 1/3/1937 Letter from Hawker Siddeley Aircraft Company Limited to Secretary CAC 16/12/1936 Letter from Secretary CAC to Brian Lewis Memorandum for CAC Board re Hawker Siddeley proposals advising not to accept any of the proposals made - instead mentioning Bristol and de Havilland 17/11/1936 Letter from Brian Lewis to Essington Lewis 6/11/1936 Letter from Brian Lewis representing Hawker Siddeley to Essington Lewis 21/10/1936 Letter from Brian Lewis to Essington Lewis 27/6/1936 representing Hawker Siddeley anticipating the return of Wackett from his overseas trip and the setting up of the aircraft industry in Australia Letter from Brian lewis to Essington Lewis 28/3/1936 re passing over of Hawker Siddeley proposals to Mr Parkhill in Canberra Memorandum of interview with Brian Lewis and Essington Lewis and FM Mitchel of the syndicate. 19/3/1936 Proposals for co-operation in Australia by Hawker Siddeley (group consists of Hawker, glister, Armstrong whit worth, Armstrong Siddeley, Burlington carriage and A V Roe Letter from Brian Lewis to Essington Lewis providing his background and relationship with Hawker Siddeley 3/2 1936 and 17/12/1935 and 26/12/1935 Very relevant to how the aircraft industry was set up in Australia -
Ballarat Tramway Museum
Ephemera - Ticket/s, Wal Jack, Australia Worldwide tickets - Wal Jack Collection, 1950's
Has tickets from:, ESCo Ballarat, Form TYE 1-37 re acceptance of breach of regulations - to Reg Item 5017, Geelong tramways – 1, Bendigo ESCo – 3, SEC – weekly, tourist and parcel / newspaper, scholars, SEC – various, also for Ballarat, Bendigo and Geelong and small packet of loose tickets., Prahran and Malvern Tramways Trust, MTT Adelaide including a small packet of loose tickets, MMTB – 2 sheets including two loose sheets with tickets and a Pensioners Fare Concession Certificate for 61 – 62 with some loose tickets, NSW – Sydney two pages, NSW – Newcastle one page + 2 tickets, and four tickets for the Yass to Yass Junction tram Brisbane – two pages with one Rockhampton ticket, VR St Kilda Brighton, Parramatta steam tram – Sydney ferries limited, Hobart, Launceston, Wellington NZ – two pages, Christchurch, Wanganui, Auckland, New Plymouth - 1, Invercargill - 1, Johannesburg, Cape town, Pretoria – 1, Liverpool, Sheffield, London – 3 pages + loose 7 day go as you please issued in 1963 to Wal Larsen, Manchester, Newcastle and Gateshead, Bolton, South Lancashire Transport – 1, Oldham, Barry Corporation – Lancs, Birmingham, Llandudno, Salford, Stockport, Sunderland, South shields, Edinburgh, Glasgow, Leeds, Darwen Corporation – 1, Dublin, Belfast, Blackpool – 1, South Wales – 1, Bradford, Dundee, Southampton, Plymouth, Leicester, Douglas, Southend on Sea, Croydon, Naples and other Italian ones, Antwerp – 1, Istanbul, St Quentin, Vevey Switzerland, Dusseldorf, Bombay, Calcutta, Karachi, Bangkok, Penang, Milwaukee Electric Railway, Los Angeles Railway – loose on page was a Tram pass for American Fleet celebration, 2/9/1908 to Eaglehawk - to Reg Item 5017, Market St Railway, Loose San Francisco Municipal railway, Puget Sound, St Louis Public Service Co., Sandwich, Tacoma Railway, Capital Transport Little Rock, Pittsburgh, Connecticut – New Haven, Twin City Lines, Chicago and West Towns, Chicago Aurora and Elgin, Elgin and Belvidere, Chicago Rapid Transits, Chicago Surface, ClevelandFeatures tickets from Australian and Overseas tramway systems. Collected by Wal Jack. Light brown paper covered album with dark red binding band, with off-white paper inside covers holding some 40 sheets of card on which tickets have been mounted using stamp hinges, captions in blue or black ink. Three supplementary sheets have been glued in as well. Has some 750 tickets including loose tickets. Reg Items 5017 (ESCo Employee Report outcome) and 5018 (Bendigo Tramways ticket for the visit of the personnel from the American Fleet - 1908) were loose in the album and have been separately collected. Some tickets in envelopes of clipped into the sheets.Individual captions for each group of tickets from a city.trams, tramways, tickets, ballarat, melbourne, usa, uk trams, esco -
Federation University Art Collection
Work on paper - Etching, Graeme Drendel, Strong Girl by Graeme Drendel
Graeme DRENDEL (02 July 1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who is known for his 'enigmatic works depicting figures of solitude and introspection.' (Gavin Fry) His works are often set in isolated landscapes and situations, and his powerful images most often relate to the human condition. Becoming the first member of his family to undertake tertiary studies Graeme Drendel received a studentship to study Secondary Art and Craft Teaching. Country students could undertake their first two years study at Ballarat or Bendigo Art Schools. Graham studied at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing the course at Melbourne State College in 1974 While studying in Ballarat Graeme lived in the student departmental hostel 'Beaufort House, and had many formational experiences during his first foray outside of the Mallee. At Ballarat Graeme Drendel became aware of the painter Gareth Sansom who lectured at Ballarat Teachers' College. Although not directly taught by Sansom Graeme was drawn to the immediacy of his work. At Melbourne Graeme chose Printmaking as his major working with Printmaking lecturers Stephen Spurrier and Jim Taylor, and drawing with John Neeson. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. As a prolific user of sketchbooks Graeme Drendel records close observations, which often inform his paintings. Graeme Drendel is a regular finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize, and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. This work is one of a substantial body of limited edition prints donated by the artist to Federation University in 2022 covering work from Graeme Drendel's earliest years as a student, through to more recent etchings. A etching of a woman with hair braids.graeme drendel, printmaking