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Kew Historical Society Inc
Drawing - Property Illustration, Margaret Picken, 360 Cotham Road, Kew, 2004
After training as a Cartographic Draftsman within the mining industry, I worked as a property illustrator for real estate firms in the eastern suburbs of Melbourne for 23 years from 1983. I initially photographed houses with a Polaroid camera and made a 'thumbnail' sketch while there. The photos were used to scale off a sketch in pencil and then that sketch was overlaid with drafting film and the 'pen and ink' completed. The pens I used were the Rotring ‘Rapidigraph’ drafting pens. The ink was also made by Rotring (German).The film was ‘Rapidraw’, polyester drafting film, double matte. It takes a very fine line and doesn’t bleed. As well as house sketches, there were often floor plans and site plans ordered. Aerial sketches were ordered when the property needed an overall view. (Margaret Picken, 2020)This ] drawing is one of a series created by Margaret Picken for a range of real estate agents in Melbourne between c.1983 and c.2005. Each work is signed and dated by the artist.Gift of Margaret Picken, 2020Pen and ink architectural drawing on drafting film of 360 Cotham Road, Kew by Margaret Picken.360 COTHAM RD., KEW / M. PICKEN (c) 2004 / FLETCHERSartist -- margaret picken 1950-, architectural drawings -- houses -- kew (vic.), 360 cotham road - kew (vic.) -
Charlton Golden Grains Museum Inc
Photograph, Catholic School 1907
Originally the first R. C. church built in 1876 and became a school when a new church was built in 1907. The first church was where the presbytery now stands.Sepia photograph of a small group of students standing outside of the first Catholic School, Charlton, c 1907.school, roman catholic church, st joseph's, charlton -
Orbost & District Historical Society
bookie's bag
This bag was used by Keith Charles Nixon who was born in Orbost on May 17 1907, the son of Percival Charles Nixon, Keith farmed at Bellagoogan and Jarrahmond. He was a keen racegoer, racing the successful Bravesia, trained by P.B. Quinlan and winner of the William Reid Stakes and other races. He died on 22 June 1994. (ref.From White Knowle to Pumpkin Point Peter Nixon)A brown leather bookie's bag leather bag with metal fastening mechanism, used by Keith Charles Nixon. It has K C N in gold letters on the front of the bag. One handle has been mended with blue tape. The inside is lined with cotton cloth.K C N on front of bag in gold letters -
Flagstaff Hill Maritime Museum and Village
Ceramic - Plate, Minton Potteries, before 1878
This earthenware dinner plate was donated by Lorna Jensen. It had belonged to her father Wally O’Brien, who was a cyclist and had ridden in the long Melbourne to Warrnambool Cycle Classic twice. Wally was given this plate by a diving friend who had recovered it from the wreck of the LOCH ARD, on the southwest coast of Victoria. The plate had been sitting in Lorna’s mum’s china cabinet until recently when she and her husband drove to Warrnambool to donate it to Flagstaff Hill Maritime Village. When they stopped at a friend’s home along the way the friend removed it from its plastic bag and tea towel and carefully wrapped it in protective packaging for the rest of its journey. The plate is very similar to other plates recovered from the wreck of the LOCH ARD. It is uncertain whether the plates were personal belongings or part of the cargo. The Asiatic Pheasant pattern is a transfer design and was the most popular design of the 19th-century Victorian era. It is still being produced today. The design was produced as high-quality, decorative dinnerware by the potters in the Staffordshire, England, area from the late 1830s, but no one is sure exactly who the original designer was. The industrial age made the production of this design more affordable to the ordinary person who purchased and proudly displayed settings in their homes. The high demand for production resulted in the loss of quality in both potting and design, particularly between 1860-1914 when the design reached its height of popularity, and the results were often a poor match for the earlier pieces’ quality and detail. Some engravers would make copies of the Asiatic Pheasant design (and other designs) onto copper plates and sell them to more than one pottery producer (the Copyright Act of 1842 was intended to control this very thing). Consequently, the list of Makers’ Marks associated with the Asiatic Pheasant is well over 100. A single pottery factory could have several owners, all with their own Marks. These factors all make the dating of pieces difficult. Also, after 1891, pieces produced for export were required to be stamped with “ENGLAND”, but pieces produced for the domestic market in England did not need this stamp, so early pieces and pieces produced for the domestic market would all be without the “ENGLAND” stamp, confusing the matter. Over time the body shape of the pieces changed, the feathered, curved and fluted edges giving way to simpler, cheaper oblong shapes. The LOCH ARD belonged to the famous Loch Line which sailed many ships from England to Australia. Built in Glasgow by Barclay, Curdle and Co. in 1873, the LOCH ARD was a three-masted square-rigged iron sailing ship. The ship measured 262ft 7" (79.87m) in length, 38ft (11.58m) in width, 23ft (7m) in depth and had a gross tonnage of 1693 tons. The LOCH ARD's main mast measured a massive 150ft (45.7m) in height. LOCH ARD made three trips to Australia and one trip to Calcutta before its final voyage. LOCH ARD left England on March 2, 1878, under the command of Captain Gibbs, a newly married, 29-year-old. She was bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo reflected the affluence of Melbourne at the time. On board were straw hats, umbrellas, perfumes, clay pipes, pianos, clocks, confectionary, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that were intended for display in the Melbourne International Exhibition in 1880. The voyage to Port Phillip was long but uneventful. At 3 am on June 1, 1878, Captain Gibbs was expecting to see land and the passengers were becoming excited as they prepared to view their new homeland in the early morning. But LOCH ARD was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4 am the fog lifted. A man aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head-on into the wind, the ship lost momentum, the sails fell limp and LOCH ARD's bow swung back. Gibbs then ordered the anchors to be released in an attempt to hold their position. The anchors sank some 50 fathoms - but did not hold. By this time LOCH ARD was among the breakers and the tall cliffs of Mutton Bird Island rose behind the ship. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves broke over the ship and the top deck was loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of LOCH ARD and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as LOCH ARD Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael had raced onto deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke open a case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a state of exhaustion, he told the men of the tragedy. Tom returned to the gorge while the two men rode back to the station to get help. By the time they reached LOCH ARD Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland, this time by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the LOCH ARD disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. Ten days after the LOCH ARD tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of LOCH ARD still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some were washed up into what is now known as LOCH ARD Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton porcelain peacock - one of only nine in the world. The peacock was destined for the Melbourne International Exhibition in 1880. It had been well packed, which gave it adequate protection during the violent storm. Today, the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck, it has now become Australia's most valuable shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register.Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history.Plate, earthenware dinner plate recovered from the wreck of the Loch Ard. Blue transfer design (Asiatic Pheasant) with a clear over-glaze. The outer rim is scalloped. Printed within cartouche on underside of plate "_ H E C L " Printed within cartouche on plate "_ H E C L "flagstaff hill, warrnambool, flagstaff hill maritime museum and village, shipwreck coast, great ocean road, tom pearce, eva carmichael, loch ard, asiatic pheasant design, dinnerware, ceramic plate, wally o’brien, dinner plate -
National Wool Museum
Pamphlet, Carding Sets
"Carding Sets" - Befama Bielska Fabryka Maszyn Wlokienniczych; sole exporters: Metalexport, Warsaw, Poland, c.1950.Pamphlet for Carding Sets by Befama Bielska Fabryka Maszyn Wlokienniczych; sole exporters: Metalexport, Warsaw, Poland, c.1950.textile machinery, metalexport bielsko textile machinery works, carding -
National Wool Museum
Pamphlet, Multiple Drum Hard Waste Openers AC3-AC7
"Multiple Drum Hard Waste Openers AC3-AC7" - sole exporters: Metalexport, Warsaw, Poland, c.1950.Pamphlet for a Multiple Drum Hard Waste Openers AC3-AC7; sole exporters: Metalexport, Warsaw, Poland, c.1950.textile machinery textiles - recycling, metalexport, textile machinery, textiles - recycling -
Kew Historical Society Inc
Drawing - Property Illustration, Margaret Picken, 48 Eglinton Street, Kew, 2001
This architectural drawing is one of a series created by Margaret Picken for a range of real estate agents in Melbourne between c.1983 and c.2005. Each work is signed and dated by the artist.Gift of Margaret Picken, 2020Pen and ink architectural drawing on drafting film of 48 Eglinton Street, Kew by Margaret Picken.48 EGLINTON ST., KEW / MARGARET PICKEN (c) 2001 / WOODARDS artist -- margaret picken 1950-, architectural drawings -- houses -- kew (vic.), 48 eglinton street --kew (vic.) -
Camberwell Historical Society
Drawing (series) - Architectural drawing, 33 Athelstan Road, Camberwell, 2002
artist, architectural drawings, margaret picken, camberwell, housesartist, architectural drawings, margaret picken, camberwell, houses -
Camberwell Historical Society
Drawing (series) - Architectural drawing, 2/35 Brinsley Road, Camberwell, 2002
artist, architectural drawings, margaret picken, camberwell, housesartist, architectural drawings, margaret picken, camberwell, houses -
Camberwell Historical Society
Drawing (series) - Architectural drawing, 4 Crow Street, Burwood, 2002
artist, architectural drawings, margaret picken, camberwell, housesartist, architectural drawings, margaret picken, camberwell, houses -
Camberwell Historical Society
Drawing (series) - Architectural drawing, 23 Crow Street, Burwood East, 2003
artist, architectural drawings, margaret picken, camberwell, housesartist, architectural drawings, margaret picken, camberwell, houses -
Camberwell Historical Society
Drawing (series) - Architectural drawing, 62 Christowel Street, Camberwell, 2002
artist, architectural drawings, margaret picken, camberwell, housesartist, architectural drawings, margaret picken, camberwell, houses -
Camberwell Historical Society
Drawing (series) - Architectural drawing, 64 Christowel Street, Camberwell, 2002
artist, architectural drawings, margaret picken, camberwell, housesartist, architectural drawings, margaret picken, camberwell, houses -
Camberwell Historical Society
Drawing (series) - Architectural drawing, 68 Cooloongatta Road, Camberwell, 2002
artist, architectural drawings, margaret picken, camberwell, housesartist, architectural drawings, margaret picken, camberwell, houses -
Camberwell Historical Society
Drawing (series) - Architectural drawing, 91 Wattle Valley Road, Camberwell, 2004
artist, architectural drawings, margaret picken, camberwell, housesartist, architectural drawings, margaret picken, camberwell, houses -
Camberwell Historical Society
Drawing (series) - Architectural drawing, 158 Wattle Valley Road, Camberwell, Unknown
artist, architectural drawings, margaret picken, camberwell, housesartist, architectural drawings, margaret picken, camberwell, houses -
Camberwell Historical Society
Drawing (series) - Architectural drawing, 5B Gavan Street, Camberwell, 2003
artist, architectural drawings, margaret picken, camberwell, housesartist, architectural drawings, margaret picken, camberwell, houses -
Camberwell Historical Society
Drawing (series) - Architectural drawing, 2 Hartwell Hill Road, Camberwell, 2003
artist, architectural drawings, margaret picken, camberwell, housesartist, architectural drawings, margaret picken, camberwell, houses -
Camberwell Historical Society
Drawing (series) - Architectural drawing, 27 Inglesby Road, Camberwell, 2002
artist, architectural drawings, margaret picken, camberwell, housesartist, architectural drawings, margaret picken, camberwell, houses -
Camberwell Historical Society
Drawing (series) - Architectural drawing, 3/20 Judd Street, Camberwell, 2003
artist, architectural drawings, margaret picken, camberwell, housesartist, architectural drawings, margaret picken, camberwell, houses -
Camberwell Historical Society
Drawing (series) - Architectural drawing, 2 Palmerston Street, Camberwell, 2001
artist, architectural drawings, margaret picken, camberwell, housesartist, architectural drawings, margaret picken, camberwell, houses -
Camberwell Historical Society
Drawing (series) - Architectural drawing, 12 Montague Avenue, Glen Iris, 2003
artist, architectural drawings, margaret picken, camberwell, housesartist, architectural drawings, margaret picken, camberwell, houses -
Camberwell Historical Society
Drawing (series) - Architectural drawing, 4 Barbara Avenue, Glen Iris, 2004
artist, architectural drawings, margaret picken, camberwell, housesartist, architectural drawings, margaret picken, camberwell, houses -
Whitehorse Historical Society Inc.
Document, People of Nunawading, c1978
People of Nunawading : references given,People of Nunawading : references given, collated alphabetically by Clive Tilson, extract from Sec. C, Tilson book (X-H)People of Nunawading : references given,nunawading, indexes -
Federation University Historical Collection
Artwork (Poster), John Sharpham
John Sharpam, the director of Ballarat University College holding a pamphlet with the new name and logo of the school, c. 1990. The University had just changed it's name and logo.A poster of a man wearing a suit, and holding a pamphlet with the title and logo of the Ballarat University College, c. 1990Pencil on verso with the words 'Archives' 'MHT278', '23099'.john sharpam, director, ballarat university college, university of ballarat, federation university australia, 1990 -
Bendigo Historical Society Inc.
Book - GOLD FIELDS ACT, c1858
Gold Fields Act. Published: Joseph A C Helm, Mackay & Co., Bendigo. 114 Pages. Inscriptions: inside front cover: hand writing from 30/10/1862 to 9/2/1864, Title Page: W Arch? Douglas, 8 January 1861, Repealed by Mining Statute, writing also on many other pages, newspaper articles pasted into book on pages 25, 30, & 31. Many pages have underlining. 114 pages. Owned by W A DouglasJoseph A C Helmbook, gold fields act, gold fields act, history, legal matters, miners rights -
Flagstaff Hill Maritime Museum and Village
Dividers, Early 20th Century
Dividers are used by navigators to measure the distance between two points on a map or chart. Each point of the divider is places on a map point, then the distance between the points of the divider is measured against the scale of the chart or map. This helps determine the ship's path of travel, the distance travelled and the current location.Not very significant as not associated with any historical event or person, same pattern of dividers is available today from many retail outlets. Also item was probably made around 1940s to 1950sDividers; brass navigator's dividers with fine, stainless steel points. Made in Britain by W & H C (inscription). This navigational tool is used by a ship's navigator to mark the ship's position. Each end point of the divider is placed on a position on a chart or map, then the length between the points of the divider is measured on the chart's scale.Inscribed "British Made" and "W & H C". flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, navigational dividers, navigational tool, dividers made by w & hc, w & hc britain -
National Wool Museum
Book, Finishing Machinery
"Finishing Machinery" - James Bailey, Textile Machine Maker, Huddersfield, c. 1926. Catalogue of machinery for fulling, scouring, carbonising, dyeing and finishing woollen and worsted and other types of textiles.Catalogue of textile finishing machinery from James Bailey, textile machine maker, Huddersfield, c.1926.textile machinery textile finishing, james bailey, textile machine maker, milling, scouring, carbonising, dyeing, raising, textile machinery, textile finishing -
Bendigo Military Museum
Card - CARD, NCO MESS, c.1.1970
The card was used by Peter James Dodd No 217842 while serving in South Vietnam. Refer 2436.2P for his service history.Membership card for Vung Tau N C O / Open Mess, Jan 1970. Cream coloured card with black print. Membership details in blue ink.Jan 1970 No 000840 Member Vung Tau N C O / Open Mess Vung Tau Viet-Nam No 96291 Name: DODD, P J Rank: CPL Unit: 17 Const SQN RAEdocuments - cards, nco mess, vung tau -
Stawell Historical Society Inc
Photograph, Steam Engine in a cutting
Steam Train Engine in Hills cutting c 1940. Photo from "Boothey" EstateTwo identical photos of a steam engine & goods trucks heading towards Melbourne. The larger photo a copy of the smaller photo c 1940A543 printed on the back of one of the photos.railways