Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs.

Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs.

Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs.

Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs.

Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs.

Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs.

Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs.

Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs.

Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs.

LIght brown and cream patterned book with a brown cloth tape spine with an index of shareholders at the front of the book. Book dated from 1929 to 1930 with name, address and occupation of shareholder. Columns for particulars, no of transfer, Distinctive Nos From and To, Dr, Cr, Balance of Shares Held, Distinctive Nos Held From and To,Dr date and amount and Cr date and amount. Many blank pages. Names of shareholders are: Eugen Cloch, Mary Anderson, John Raeburn Balmer, Katie Bloch, Consortium Hanro, William Crowley, William Reddish Cook, Favaloro Bros, Favaloro Domeric, Charles Handschin, Catherine HUnter, a. Alex Lewis Robertson Goldie, Mabel Gittins, Handschin Alice, William Dill Hunter, Annie Chambers Hunter, Mary Elizabeth Hunter, Herbert Keck, Harry Francis Longstaff, Geo Victor Lansell, Edith Lansell, Audrey Edith Lansell, Marie Gwendoline Lansell, Patrica Hope Lansell, Lillie Goudie McGregor, William Bowman hanna Neill, Evelyn Adrienne Neill, Elizabeth Neill, William ?all Russell, Ronald Alexander Rankin, William John Stephens, Smalley Balmer & Cook, John Jepson Stanistreet, Kenneth Smalley and William Wright. Pasted in the back of the book is a typed letter from Mrs Edith Lansell, dated 1 May 1931 to The Secretary, Hanro (Aust) Bendigo Knitting Mills Pty Ltd in reference to a new share certificate to replace a lost or destroyed one. She undertakes to indemnify Hanro against any claims or losses if the share certificate is presented for Dividend payments or for capital returned. Signed by Edith Lansell. Witness signature unreadable.hanro, clothing, share register, hanro collection - a & b ordinary share register 1929 - 1030, harry francis longstaff, william ?all russell, charles handschin, consortinum hanro, catherine hunter, favaloro bros, george victor lansell, denderah, edith lansell, fortuna, william wright, advertiser office, william john stephens, audrey edith lansell, marie gwendoline lansell, patrica hope lansell, alexander lewis robertson goldie, llillie goudie mcgregor, herbert keck, smalley balmer & cook, william bowman hanna neill, rosemont, ronald alexander rankin, john jepson stanistreet, eugen bloch, william crowley, william ball russell, mabel gittins, mary anderson, kenneth smalley, john raeburn balmer, william reddish cook, domeric favaloro, katie bloch, evelyn adrienne neill, elizabeth neill, alice handschin, william dill hunter, annie chambers hunter, mary elizabeth hunter

A collection of 18 photographs taken by Mrs Haines' sister whilst on an excursion to Phillip Island from Mt Barker High School in South Australia. 217-01 Photograph of the Cowes Pier taken from foreshore. Ferry at centre left and crowd of people on end of pier. 217-02 Photograph taken from the end of the Cowes Pier with Isle of Wight Hotel in the background. 217-03 Photograph of the Killara Ferry leaving Cowes with a crowd of people on board. 217-04 Photograph of waves surging over Bridal Veil rock platform in foreground. 217-05 Photograph of wave breaking over rock platform on the South Coast of Phillip Island. 217-06 Photograph of the Suspension Bridge from San Remo. 217-07 Photograph of a Guesthouse Dining Room. Tables covered with white cloth and fully laid, including floral arrangements. 217-08 Photograph of the War Memorial at Cowes with the pier in background. 217-09 Photograph of seals on Seal Rocks Phillip Island. 217-10 Photograph of a koala on the trunk of a Gum Tree. Handwritten on the back of the photo - "Roberta, a pet koala". 217-11 Photograph of children rolling down dune onto the beach. Children and adults standing at water's edge. 217-12 Photograph of the Killara at San Remo taken from the Suspension Bridge. 217-13 Photograph of a group of school children with teachers, young girl in the foreground, on rocks at Smith's Beach. 217-14 Photograph looking along the Suspension bridge from Newhaven end. Group of people walking toward San Remo. 217-15 Photograph of Suspension bridge from Newhaven beach. 217-16 Photograph of Mrs Melbourne and Mrs Haines sister. 217-17 Photograph of Seal Rocks taken from a boat. 217-18 Photograph of Theni Beddams - Headmistress of Shelford and Ila Tattersall (Mrs Haines) Sybil Robinson's sister together with four sailors.cowes pier phillip island, the killara ferry, ferries, wildlife - seals, wildlife - koala, suspension bridge phillip island, phillip island coastline, smith's beach, lover's walk cowes, lover's walk cowes phillip island, war memorial cowes phillip island, seals on seal rocks phillip island, seal rocks phillip island, mrs haines

One of the three projectors used in every trip was this 16mm Portable Projector, which was used taken to about 60 towns and cities around Australia, as Mr Yiannoudes states. This projector is in working condition serviced by Mr Yiannoudes himself regularly. It is an optical and magnetic sound projector, a rare one of its type.Primary historic significance as well as rarity significanceFrom January 1959 and until 1982, “Cosmopolitan Motion Pictures”, owned by Mr Peter Yannoudes (Παναγιώτης Γιαννούδης) and Mr Stathis Raftopoulos (Στάθης Ραφτόπουλος) travelled around Australia to entertain the Greek, Turkish, Indian and Yugoslav speaking population of Australia and provide a significant cinema culture. They travelled as far as Perth in WA, Adelaide in SA, Tasmania, Darwin in Nt, Canberra in ACT and Sydney and NSW. However they found themselves also in places like Berri and Renmark in NSW, where concentrations of migrants lived and thrived during the period. Initially they were travelling by train, carrying all their equipment by hand and placing them in boxes and suitcases. However after 1962 when they acquired their first automobile, travelling became less of a burden, nevertheless cumbersome and laborious. They carried with them initially two portable projectors (second one as a backup) and at times travelled with a third in order to ensure that technology will not be letting them down at the time of film projection. At times the films were projected onto a white sheet of cloth because there was no proper screen to project it on at the venue they were using. One of the three projectors used in every trip was this 16mm Portable Projector, which was used taken to about 60 towns and cities around Australia, as Mr Yiannoudes states. This projector is in working condition serviced by Mr Yiannoudes himself regularly. It is an optical and magnetic sound projector, a rare one of its type. Apart from this projector these items were taken on each trip. -a- 3 projectors in total -b- 2 tripod stands -c- 1 20 feet x 10 feet screen -d- 6 projector lamps and 2 exider lamps for sound -e- 2 extra lamps per film to be shown -f- 1 film rewinder (see rewinder in same collection)Siemensprojector, film, magnetic, sound, optical, language, greek, siemens, german, γιαννούδης, προβολέας, yiannoudes, plutarch

Tatting is a form of knotted lace making using thread and a small shuttle. Twisted threads are tied around or through small, pointed shuttles that can be made of bone, mother of pearl, tortoise shell, steel or plastic. This produces a stable, strong lace using simple knots of two half hitches to make rings and chains embellished with picots.The origins of tatting are not clear but early versions of decorative knotting were used by the Egyptians on their ceremonial dress. Tatting also has elements of fishermen's net making techniques and the decorative knotting that was practiced by aristocratic women from the 15th century.Tatting, as we know it today, emerged in the first half of the 19th century. The new availability of mercerised thread from 1835 encouraged a burgeoning of lace crafts of all sorts. It was known in Italy as "occhi" and in France as "la frivolite". Tatting looks fragile but is both strong and durable. An article in a column named "Wives and Daughters" published in the Star newspaper in May 1910 describes the durability of tatting lace - "there is edging and insertion still in existence that have outworn two sets of pillow slips." In the 19th century and well into the 20th century, tatting was used like crochet and knitted lace for decorative edgings, collars, doylies, tray cloths etc. At first, different tatting patterns were passed along by word of mouth from person to person, however in time, patterns regularly appeared in newspapers and magazines well into the 1950's. A shuttle is a small tool that looks like a small boat "sailing" in and out of the thread. Tatting is called "schiffchenarbeit" in German, which means "the work of a little boat". There are two popular types of shuttles. The first has closed ends and a removable bobbin where the thread is wound around - often made from metal or plastic (as is item 8535.1). The second type has a post in the center where the thread is wound (e.g. item 8535.2). The ends of this bobbin are open but snug. Because it is constructed in two pieces, it can be made from materials like bone, ivory or mother of pearl. Shuttles hold a larger amount of thread (as compared with needles) which means fewer ends to weave in. Fishermen in the past are thought to have used large shuttles to weave cord into certain knots whilst making their fishing nets. Their methods were copied by weavers, who innovated by using threads and smaller shuttles to make lace. One type of tatting shuttle produced by "Aero" from the 1930's to the late 1960's was an anodized grey coated aluminium shuttle with a sharp pick at one end. In the 1970's it was superseded by the grey plastic "Aero" which has a removeable bobbin which you can put on the end of the shuttle to make thread winding easier and an embedded crochet hook for joining picots. The "Aero" company developed in Redditch, England - a town renowned as a centre for manufacturing needles. Firms run by Henry Milward and Abel Morrall were based in Redditch and by the 18th century Redditch was manufacturing one million sewing needles per year. Abel Morrall Ltd launched the "Aero" brand in 1936 and greatly expanded the firm's product line to include tatting shuttles and knitting needles. The classic plastic "Aero" tatting shuttle was manufactured in England from the early 1970's until the 1990's. These items are significant as examples of easily accessible handiwork tools that enabled women in the 1930s -1960s to be able to decorate and personalize their household linen and clothing.Shuttle no. 8535.1 is a beige, boat shaped plastic shuttle with enclosed ends, small round central indentations on both sides and an enclosed black removeable bobbin. The shuttle has a grooved point at one end to hold a bobbin and a small metal crochet hook at the other end. Shuttle no. 8535.2 is a beige, boat shaped metal shuttle with pointed ends that are open but snug, small round central indentations and two smaller circular markings (on both sides) and two internal posts with cream thread wound around.Shuttle no. 8535.1 - "AERO" / "ENGLAND" Shuttle no. 8535.2 - "AERO' / "ENGLAND" "39c" (written in ball point pen)flagstaff hill maritime museum and village, flagstaff hill, warrnambool, shipwreck coast, great ocean road, tatting shuttle, aero company, handwork, handwork tool, craft, handcraft, needlework, tatting

This commemorative plaque refers to the religiously themed window situated in the western (weather) wall of the St. Nicholas Mission to Seamen’s Church building in the Flagstaff Hill Maritime Village. It was crafted circa 1928. ABOUT THE WINDOW The window, to which this plaque belongs was once known as the Dr Connell Memorial Window, which was a feature of an external wall adjacent to the Women’s Children’s Wards of Warrnambool Hospital. Honorary Doctors had played a significant role in the operation of the hospital between the years 1900 to 1939. One of these doctors was Dr. Connell, who passed away in 1928. A paragraph in the book ‘A History of the Warrnambool Base Hospital’ by Forth and Yule describes the role of the Honorary Doctors - “At the start of the period the senior-part time medical officer was replaced by the junior resident medical officer and control of beds and the right to operate were given to the honorary medical officers...and these men dominated the Warrnambool medical world in the years before the Second World War.” Dr. Connell leased ‘Ambleside’, 192 Koroit Street, in the early 20th century, following Dr Teed who had previously run his medical practice there. In 1914 Dr Connell purchased the property and continued his private practice there until his death in 1928. He also took a prominent part in hospital work, both as physician and surgeon, and often acted as spokesmen for the Honorary Doctors. According to colleague Dr. Horace Holmes’ subsequent notes, it was after the close of the First World War, and the following years of the world-wide pneumonic influenza epidemic, that Dr. Connell himself contracted pneumonia and died. His family and friends then recognised his work by gifting the memorial window in his honour to the Hospital. By the mid-1970s the old wards at the hospital had been replaced and there was no obvious place for the window. Discussions between the previous and past Hospital managers, the Anglican Diocese, and Flagstaff Hill Planning Board, led to its installation in its present position in St Nicholas Seamen’s Church. It was installed without the bottom section of stained glass, which was inscribed as a memorial to Dr. Connell. St NICHOLAS SEAMEN’S CHURCH, Anglican Church Flagstaff Hill’s Mission to Seamen was opened in 1981. Its conception was partly motivated by the offer of Stained Glass Memorial Windows from the local Warrnambool and District Base Hospital, which was undergoing multi-storey development in the late 1960’s and early 1970’s. The Manager/Secretary at the time was keen to see the historical windows installed in an appropriate location. The chapel was designed by a local architectural draftsman in conjunction with members of the Planning Board of Flagstaff Hill, and built by Mr Leon Habel. The vision of the designers included the hope that the church be used for formal worship such as weddings and funeral, and for multi-denominational special services such as War commemorations. The design is based on the ‘Mission to Seamen’ buildings in both Portland and Port Melbourne. These types of buildings were often erected to house social and worshipful activities for seamen. The materials used in the building include sandstone recycled from nineteenth-century buildings demolished in Warrnambool and American slate tiles retrieved from the 1908 wreck of the FALLS OF HALLADALE. Most of the chapel furnishings came from the Williamstown Missions to Seamen, which was consecrated in 1946 but later decommissioned. These artefacts range from the altar cloth to the hymn board and include a visually stunning round stained glass widow called ‘Christ Guiding the Helmsman’. However the provenance of this particular artefact, large western window, is local.This plaque is significant because of its association with stained glass memorial window is of local, historical and social significance, linking local history and heritage with one of Warrnambool's doctors, Dr. Egbert John Connell (d. 1928), who gave 30 years of dedicated, medical service to the local citizens.Plaque, opaque, pale green glass rectangle mounted on white timber board and held in place with six decorative silver coloured clasps. Five rows of printed, capitalised text are fixed on the top surface. The plaque is companion to the commemorative, stained glass window installed in the St. Nicholas Mission to Seamen's Church at Flagstaff Hill. (The window was previously known locally as the Dr. Connell Memorial Window.)"A TRIBUTE TO / EGBERT JOHN CONNELL, M.B.B.S. / WHO FOR 30 YEARS RENDERED DEVOTED AND / VALUABLE SERVICE TO THIS INSTITUTION / OBIIT APRIL 4th 1928, A.D."flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, chapel window, stained glass window, warrnambool and district base hospital, st nicholas mission to seamen’s church, williamstown mission to seamen, dr egbert connell, ambleside warrnambool, leon habel builder, falls of halladale slate, memorial window, commemorative window, dr connell, commemorative plaque, plaque, edgar mcconnell

Green folder gold block printed cover for "The J.G. Brill Company" and associated companies containing the following bulletins. All four pages, unless noted otherwise, printed on art paper, with the company name associated companies and agencies - e.g. Noyes Bros in Australasia. Contain a photo of the truck, a photo of a vehicle using the truck or bogie, line diagram, dimensions and parts diagram and listing. Bulletins 229, 246, 247 and 249 are for window (sash) components seats. Give diagrams and photos of this equipment. 1. No. 220 - The Brill 21E truck 2. No. 221 - Brill No. 50E truck 3. No. 224 - The Brill 27MCB truck 4. No. 225 - The Brill 76E truck 5. No. 227 - The Brill 39E truck 6. No. 228 - The Brill 77E truck 7. No. 229 - The Brill Renitent Post 8. No. 234 - The Brill 78M truck for light weight cars 9. No. 236 - Parts of Brill Short Base Pivotal Truck No. 27G 10. No. 237 - Parts of Brill Short Base Pivotal Truck No. 27F 11. No. 238 - Parts of Brill High Speed Truck No. 27E 12. No. 240 - Two Important Brill full elliptic Spring Trucks - 51E and 68E types. 13. No. 242 - The Brill 79E truck for Birney Safety Cars 14. No. 246 - Brill Reversible seats - Winner and Waylo types - 8 pages 15. No. 247 - Brill Non-reversible seats. 16. No. 249 - The Motorman's seats for Birney Safety cars. (different style of layout). All contained with a 'Shipman's "Common-Sense" Binder', comprising a green cloth covered cardboard, continuous cover, printed end papers, binder clips for inserting documents. Style No. 62848. Gold block front with name of company and Brill logo and on spine of document "Brill Publications" in gold. Has a ESCo date stamp of 3 May 1921 on front page of Bulletin No. 220.On front cover of first Bulletin, date stamp of ESCo, Ballarat "3 May 1921" in purple ink.trams, tramways, 21e trucks, j c brill co, bogies, interurban, birney, brill trucks

117 pp : illustrated : Appendices Chapters: Preface / Robert Baker p4. The collection / Robert Baker p5. Cartwheel penny / Robert Baker p6. Creek and old watering stage / David White p10. John Carson: Mayor 1863–4 1 / Julie King p4. Wedding dress / Suzanne McWha p18. Back to Kew 1875 / Judith Scurfield p22. Barnard’s clock / Margaret Robinson p26. Denbigh quilt / Suzanne McWha p28. Fragments of art decoration / Robert Baker p32. Mr Richardson’s sock / Felicity Renowden p36. Kew Volunteer Fire Brigade / David White p38. Kew Where We Live / Judith Scurfield p42. [MMBW} Detail Plan No. 1580 / Judith Scurfield p46. Adeney Avenue / Suzanne McWha p50. Young Workers’ Patriotic Guild / Margaret Robinson p54. Roll of Honor [Thomas Rand] / Robert Baker p56. Alice Anderson in her tourer / Felicity Renowden p60. Kew War Memorial / David White p62. Beaded dance dress / Suzanne McWha p 66. The great flood of 1934 / Desley Reid p68. Depression-era toolbox / Robert Baker p72. War Savings Street / Julie King p74. Kew Public L.ibrary / Suzanne McWha p78. Signature supper cloth / Desley Reid p82. View from the garden of Rockingham / Desley Reid p86. Cr Marie Dalley / Felicity Renowden p90. Centenary of Kew / Robert Baker p94. Doris Dickinson’s gown / Julie King p98. [Model Dairy] Milk bottles / Robert Baker p100. Kew Civic Centre / David White p102. Bicentennial tapestries / Margaret Robinson p106. Crest of the City of Kew / Desley Reid p110. Town Crier [outfit] / Desley Reid p112. Acknowledgements p114. List of works p115.non-fiction'Stories They Tell : A history of Kew through objects' explores diverse narratives from European settlement to the first decades of the twenty-first century. These stories use as their starting point artworks, texts and artefacts from the nationally significant collection of the Kew Historical Society. Limited to 100 copies.collection -- kew historical society, museum catalogues, henty family, cartwheel pennies, kew lunatic asylum, patchwork quilts, john carson, george bouchier richardson, gb richardson, coombs family, james dannock, back to kew 1875, francis barnard, denbigh family, cullis hill & co, ordsall, southesk, kew volunteer fire brigade, jfc farquhar, henry kellett, mmbw detail plan 1580, william nicholls anderson, young workers patriotic guild, roll of honor -- town of kew, alice anderson, kew war memorial, flapper dresses, fairfield bridge, chandler highway bridge, warren trestrail, furniture -- 1930s, war savings streets, kew library, children's libraries, voluntary aid detachments - kew (vic.), rockingham, james govett, centenary of kew, mayoresses -- kew (vic.), model dairy -- kew (vic.), doris dickinson, crests -- city of kew (vic.), town criers -- kew (vic.), joy stewart, australian bicentennial -- kew (vic.), kew civic centre, ak lines mcfarlane marshall, adeney avenue -- kew, wwi

This religiously themed window is situated in the western (weather) wall of the St. Nicholas Mission to Seamen’s Church building in the Flagstaff Hill Maritime Village. It was crafted circa 1928. ABOUT THE WINDOW This window, once known as the Dr Connell Memorial Window, was a feature of an external wall adjacent to the Women’s Children’s Wards of Warrnambool Hospital. Honorary Doctors had played a significant role in the operation of the hospital between the years 1900 to 1939. One of these doctors was Dr. Connell, who passed away in 1928. The green glass plaque is also a registered object in Flagstaff Hill's Collection. Its inscription dedicates the window to Dr. Connell. The inscription reads: “A tribute to Egbert John Connell M.B.B.S. who for 30 years rendered devoted and valuable service to this institution. Obiit April 4th 1928 A.D." A paragraph in the book ‘A History of the Warrnambool Base Hospital’ by Forth and Yule describes the role of the Honorary Doctors - “At the start of the period the senior-part time medical officer was replaced by the junior resident medical officer and control of beds and the right to operate were given to the honorary medical officers...and these men dominated the Warrnambool medical world in the years before the Second World War.” Dr. Connell leased ‘Ambleside’, 192 Koroit Street, in the early 20th century, following Dr Teed who had previously run his medical practice there. In 1914 Dr Connell purchased the property and continued his private practice there until his death in 1928. He also took a prominent part in hospital work, both as physician and surgeon, and often acted as spokesmen for the Honorary Doctors. According to colleague Dr. Horace Holmes’ subsequent notes, it was after the close of the First World War, and the following years of the world-wide pneumonic influenza epidemic, that Dr. Connell himself contracted pneumonia and died. His family and friends then recognised his work by gifting the memorial window in his honour to the Hospital. By the mid-1970s the old wards at the hospital had been replaced and there was no obvious place for the window. Discussions between the previous and past Hospital managers, the Anglican Diocese, and Flagstaff Hill Planning Board, led to its installation in its present position in St Nicholas Seamen’s Church and the memorial plaque was later installed beside the window. St NICHOLAS SEAMEN’S CHURCH, Anglican Church Flagstaff Hill’s Mission to Seamen was opened in 1981. Its conception was partly motivated by the offer of Stained Glass Memorial Windows from the local Warrnambool and District Base Hospital, which was undergoing multi-storey development in the late 1960’s and early 1970’s. The Manager/Secretary at the time was keen to see the historical windows installed in an appropriate location. The chapel was designed by a local architectural draftsman in conjunction with members of the Planning Board of Flagstaff Hill, and built by Mr Leon Habel. The vision of the designers included the hope that the church be used for formal worship such as weddings and funeral, and for multi-denominational special services such as War commemorations. The design is based on the ‘Mission to Seamen’ buildings in both Portland and Port Melbourne. These types of buildings were often erected to house social and worshipful activities for seamen. The materials used in the building include sandstone recycled from nineteenth-century buildings demolished in Warrnambool and American slate tiles retrieved from the 1908 wreck of the FALLS OF HALLADALE. Most of the chapel furnishings came from the Williamstown Missions to Seamen, which was consecrated in 1946 but later decommissioned. These artefacts range from the altar cloth to the hymn board and include a visually stunning round stained glass widow called ‘Christ Guiding the Helmsman’. However the provenance of this particular artefact, large western window, is local. This stained glass memorial window is of local, historical and social significance, linking local history and heritage with one of Warrnambool's doctors, Dr. Egbert John Connell (d. 1928), who gave 30 years of dedicated, medical service to the local citizens.Stained glass leadlight window in Gothic arched metal frame with six horizontal reinforcing rods. Image depicts a golden flat-bowled baptismal font on a slender stand with foliage proceeding from it. The image is internally framed by a Roman arch of coloured glass and surrounding rectangular and breaking-wave shapes. (The window was previously known locally as the Dr. Connell Memorial Window and a plaque dedicated to Dr. Connell is catalogued separately. See Context notes for details.)flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, chapel window, stained glass window, warrnambool and district base hospital, st nicholas mission to seamen’s church, williamstown mission to seamen, dr egbert connell, ambleside warrnambool, leon habel builder, falls of halladale slate, memorial window, commemorative window, dr connell

Used to store tools and other assorted items associated with Maldon State Battery..1 storage box with compartments and lid, painted green, made from wood, leather and are chains attatched from box to lid, trapeze shape, .3 grooves on top of box parallel to wooden supports on lid, latch, nails and bolts attatching wood and inner compartments, leather straps on innner lid and inside main compartment for holding tools, main compartment contains torn newspapers, severed cloths, pieces of rock, pipe peices made of metal and plastic, assortment of metal pieces, paint lids, green bucket with grease, food packaging, tap/valve, metal mesh, leather and plastic pieces, 2 keys/padlocks, nails, nuts, assortment of tools, wooden pieces, wooden handle for screwdriver, broken chair, chalk, pieces of ceramic (Bendigo pottery) , pocket handle with inscription, bottle lids, plastic container, rope/belt for machines, piece of belt, broken canvas strap, peices of broken dark brown glazed textured pottery, large circular threaded joins, large elboiw threaded elbow joins .2 upper left compartment containing brush head, sandpaper and assorted rusty metal objects .3 upper middle compartment containing rusty weighing hook, rusty bolt and scrap metal .4 upper right compartment containing broken tan pottery, rusty threaded T join, unknown green paper with inscription .5 lower left compartment containing white cotton waste, assorted circular rusty metal objects, assorted rusty nails and washers, orange lid with insciption, nut and bolt .6 lower left middle compartment containing unknown assorted metal objects, peice of broken clamp and felt .7 lower right middle compartment containing large rusty nuts and unknown rusty metal objects .8 lower right compartment containing assorted threaded rusty circular metal objects, rusty nut and bolt, metal pump part, rusty mobil oil tin 20litres, old newspaper scraps,

The chair has been used since antiquity, although for many centuries it was a symbolic article of state and dignity rather than an article for ordinary use. "The chair" is still used as the emblem of authority in the House of Commons in the United Kingdom and Canada, and in many other settings. In keeping with this historical connotation of the "chair" as the symbol of authority, committees, boards of directors, and academic departments all have a 'chairman' or 'chair'. Endowed professorships are referred to as chairs. It was not until the 16th century that chairs became common. Until then, people sat on chests, benches, and stools, which were the ordinary seats of everyday life. The number of chairs which have survived from an earlier date is exceedingly limited; most examples are of ecclesiastical, seigneurial or feudal origin. Chairs were in existence since at least the Early Dynastic Period of Egypt (c. 3100 BC). They were covered with cloth or leather, were made of carved wood, and were much lower than today's chairs – chair seats were sometimes only 10 inches (25 cm) high. In ancient Egypt, chairs appear to have been of great richness and splendour. Fashioned of ebony and ivory, or of carved and gilded wood, they were covered with costly materials, magnificent patterns and supported upon representations of the legs of beasts or the figures of captives. Generally speaking, the higher ranked an individual was, the taller and more sumptuous was the chair he sat on and the greater the honour. On state occasions, the pharaoh sat on a throne, often with a little footstool in front of it.[ The average Egyptian family seldom had chairs, and if they did, it was usually only the master of the household who sat on a chair. Among the better off, the chairs might be painted to look like the ornate inlaid and carved chairs of the rich, but the craftsmanship was usually poor. The earliest images of chairs in China are from 6th-century Buddhist murals and stele, but the practice of sitting in chairs at that time was rare. It was not until the 12th century that chairs became widespread in China. Scholars disagree on the reasons for the adoption of the chair. The most common theories are that the chair was an outgrowth of indigenous Chinese furniture, that it evolved from a camp stool imported from Central Asia, that it was introduced to China by Christian missionaries in the 7th century, and that the chair came to China from India as a form of Buddhist monastic furniture. In modern China, unlike Korea or Japan, it is no longer common to sit at floor level. In Europe, it was owing in great measure to the Renaissance that the chair ceased to be a privilege of state and became a standard item of furniture for anyone who could afford to buy it. Once the idea of privilege faded the chair speedily came into general use. Almost at once the chair began to change every few years to reflect the fashions of the day. Thomas Edward Bowdich visited the main Palace of the Ashanti Empire in 1819, and observed chairs engrossed with gold in the empire. In the 1880s, chairs became more common in American households and usually there was a chair provided for every family member to sit down to dinner. By the 1830s, factory-manufactured “fancy chairs” like those by Sears, Roebuck, and Co. allowed families to purchase machined sets. With the Industrial Revolution, chairs became much more available. The 20th century saw an increasing use of technology in chair construction with such things as all-metal folding chairs, metal-legged chairs, the Slumber Chair,[ moulded plastic chairs and ergonomic chairs. The recliner became a popular form, at least in part due to radio and television. The modern movement of the 1960s produced new forms of chairs: the butterfly chair (originally called the Hardoy chair), bean bags, and the egg-shaped pod chair that turns. It also introduced the first mass-produced plastic chairs such as the Bofinger chair in 1966. Technological advances led to moulded plywood and wood laminate chairs, as well as chairs made of leather or polymers. Mechanical technology incorporated into the chair enabled adjustable chairs, especially for office use. Motors embedded in the chair resulted in massage chairs. https://en.wikipedia.org/wiki/ChairThe chair is one of the most commonly used items providing comfort.Chair wooden varnished dark brown. Spokes for back support, front legs and spokes joining legs are patterned turned wood. Back rest has a floral emblem with a kangaroo in the centre.Back rest has a floral emblem with a kangaroo in the centre.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, chair, dining, carpentry

The chair has been used since antiquity, although for many centuries it was a symbolic article of state and dignity rather than an article for ordinary use. "The chair" is still used as the emblem of authority in the House of Commons in the United Kingdom and Canada, and in many other settings. In keeping with this historical connotation of the "chair" as the symbol of authority, committees, boards of directors, and academic departments all have a 'chairman' or 'chair'. Endowed professorships are referred to as chairs. It was not until the 16th century that chairs became common. Until then, people sat on chests, benches, and stools, which were the ordinary seats of everyday life. The number of chairs which have survived from an earlier date is exceedingly limited; most examples are of ecclesiastical, seigneurial or feudal origin. Chairs were in existence since at least the Early Dynastic Period of Egypt (c. 3100 BC). They were covered with cloth or leather, were made of carved wood, and were much lower than today's chairs – chair seats were sometimes only 10 inches (25 cm) high. In ancient Egypt, chairs appear to have been of great richness and splendour. Fashioned of ebony and ivory, or of carved and gilded wood, they were covered with costly materials, magnificent patterns and supported upon representations of the legs of beasts or the figures of captives. Generally speaking, the higher ranked an individual was, the taller and more sumptuous was the chair he sat on and the greater the honour. On state occasions, the pharaoh sat on a throne, often with a little footstool in front of it.[ The average Egyptian family seldom had chairs, and if they did, it was usually only the master of the household who sat on a chair. Among the better off, the chairs might be painted to look like the ornate inlaid and carved chairs of the rich, but the craftsmanship was usually poor. The earliest images of chairs in China are from 6th-century Buddhist murals and stele, but the practice of sitting in chairs at that time was rare. It was not until the 12th century that chairs became widespread in China. Scholars disagree on the reasons for the adoption of the chair. The most common theories are that the chair was an outgrowth of indigenous Chinese furniture, that it evolved from a camp stool imported from Central Asia, that it was introduced to China by Christian missionaries in the 7th century, and that the chair came to China from India as a form of Buddhist monastic furniture. In modern China, unlike Korea or Japan, it is no longer common to sit at floor level. In Europe, it was owing in great measure to the Renaissance that the chair ceased to be a privilege of state and became a standard item of furniture for anyone who could afford to buy it. Once the idea of privilege faded the chair speedily came into general use. Almost at once the chair began to change every few years to reflect the fashions of the day. Thomas Edward Bowdich visited the main Palace of the Ashanti Empire in 1819, and observed chairs engrossed with gold in the empire. In the 1880s, chairs became more common in American households and usually there was a chair provided for every family member to sit down to dinner. By the 1830s, factory-manufactured “fancy chairs” like those by Sears, Roebuck, and Co. allowed families to purchase machined sets. With the Industrial Revolution, chairs became much more available. The 20th century saw an increasing use of technology in chair construction with such things as all-metal folding chairs, metal-legged chairs, the Slumber Chair,[ moulded plastic chairs and ergonomic chairs. The recliner became a popular form, at least in part due to radio and television. The modern movement of the 1960s produced new forms of chairs: the butterfly chair (originally called the Hardoy chair), bean bags, and the egg-shaped pod chair that turns. It also introduced the first mass-produced plastic chairs such as the Bofinger chair in 1966. Technological advances led to moulded plywood and wood laminate chairs, as well as chairs made of leather or polymers. Mechanical technology incorporated into the chair enabled adjustable chairs, especially for office use. Motors embedded in the chair resulted in massage chairs. https://en.wikipedia.org/wiki/ChairThe chair is one of the most commonly used items providing comfort.Chair wooden varnished dark brown. Spokes for back support, front legs and spokes joining legs are patterned turned' wood. Backrest has a floral emblem with a kangaroo in the centre.Back rest has a floral emblem with a kangaroo in the centre.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, chair, dining, carpentry

The chair has been used since antiquity, although for many centuries it was a symbolic article of state and dignity rather than an article for ordinary use. "The chair" is still used as the emblem of authority in the House of Commons in the United Kingdom and Canada, and in many other settings. In keeping with this historical connotation of the "chair" as the symbol of authority, committees, boards of directors, and academic departments all have a 'chairman' or 'chair'. Endowed professorships are referred to as chairs. It was not until the 16th century that chairs became common. Until then, people sat on chests, benches, and stools, which were the ordinary seats of everyday life. The number of chairs which have survived from an earlier date is exceedingly limited; most examples are of ecclesiastical, seigneurial or feudal origin. Chairs were in existence since at least the Early Dynastic Period of Egypt (c. 3100 BC). They were covered with cloth or leather, were made of carved wood, and were much lower than today's chairs – chair seats were sometimes only 10 inches (25 cm) high. In ancient Egypt, chairs appear to have been of great richness and splendour. Fashioned of ebony and ivory, or of carved and gilded wood, they were covered with costly materials, magnificent patterns and supported upon representations of the legs of beasts or the figures of captives. Generally speaking, the higher ranked an individual was, the taller and more sumptuous was the chair he sat on and the greater the honour. On state occasions, the pharaoh sat on a throne, often with a little footstool in front of it.[ The average Egyptian family seldom had chairs, and if they did, it was usually only the master of the household who sat on a chair. Among the better off, the chairs might be painted to look like the ornate inlaid and carved chairs of the rich, but the craftsmanship was usually poor. The earliest images of chairs in China are from 6th-century Buddhist murals and stele, but the practice of sitting in chairs at that time was rare. It was not until the 12th century that chairs became widespread in China. Scholars disagree on the reasons for the adoption of the chair. The most common theories are that the chair was an outgrowth of indigenous Chinese furniture, that it evolved from a camp stool imported from Central Asia, that it was introduced to China by Christian missionaries in the 7th century, and that the chair came to China from India as a form of Buddhist monastic furniture. In modern China, unlike Korea or Japan, it is no longer common to sit at floor level. In Europe, it was owing in great measure to the Renaissance that the chair ceased to be a privilege of state and became a standard item of furniture for anyone who could afford to buy it. Once the idea of privilege faded the chair speedily came into general use. Almost at once the chair began to change every few years to reflect the fashions of the day. Thomas Edward Bowdich visited the main Palace of the Ashanti Empire in 1819, and observed chairs engrossed with gold in the empire. In the 1880s, chairs became more common in American households and usually there was a chair provided for every family member to sit down to dinner. By the 1830s, factory-manufactured “fancy chairs” like those by Sears, Roebuck, and Co. allowed families to purchase machined sets. With the Industrial Revolution, chairs became much more available. The 20th century saw an increasing use of technology in chair construction with such things as all-metal folding chairs, metal-legged chairs, the Slumber Chair,[ moulded plastic chairs and ergonomic chairs. The recliner became a popular form, at least in part due to radio and television. The modern movement of the 1960s produced new forms of chairs: the butterfly chair (originally called the Hardoy chair), bean bags, and the egg-shaped pod chair that turns. It also introduced the first mass-produced plastic chairs such as the Bofinger chair in 1966. Technological advances led to moulded plywood and wood laminate chairs, as well as chairs made of leather or polymers. Mechanical technology incorporated into the chair enabled adjustable chairs, especially for office use. Motors embedded in the chair resulted in massage chairs. https://en.wikipedia.org/wiki/ChairThe chair is one of the most commonly used items providing comfort.Chair varnished dark brown. Spokes for back support, front legs and spokes joining legs are patterned turned wood. Back rest has a floral emblem with a kangaroo in the centre.Back rest has a floral emblem with a kangaroo in the centre.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, chair, dining, carpentry

ADB entry: http://adb.anu.edu.au/biography/langham-frederick-3987 Frederick Langham (1833-1903), Wesleyan missionary, was born on 24 April 1833 at Launceston, Van Diemen's Land, son of Samuel Langham, builder, and his wife Eliza, née Robinson. Nurtured in a Methodist home he attended the Paterson Street Sunday school and was 'converted' under the ministry of Rev. William Butters. In 1847 the family moved to Victoria where Langham joined the Fitzroy Church. After two years training as a teacher in Britain he returned to Melbourne and on 16 November 1854 at Richmond married Ann Elizabeth Knight. In January 1855 Langham became headmaster of the Wesleyan Denominational School at Barker Street, Castlemaine, where he was a contemporary of Shirley Baker at the other Wesleyan school. Influenced by Rev. Thomas Raston to consider missionary work, Langham was prepared for the ministry by Rev. John Harcourt and in 1858 was received into the Victorian Conference. He was appointed to Fiji where he arrived in June. Langham served at Lakemba in 1858-63, Bau in 1864-66 and Viwa in 1868-70. As one of the assertive 'colonial young men', he was resented at first by Rev. James Calvert and his colleagues, but Langham soon dominated the mission and was chairman of the Fiji district in 1869-94. From 1871 he lived at Bau where he won repute among Methodists as King Cakobau's adviser. Although his policies did not please all the missionaries, they accepted him as their spokesman. Believing himself the champion of the Fijians he encouraged annexation by Britain, but often nettled the colonial administrators by his paternalism and lack of imagination. To his colleagues he was 'Father' Langham and Sir Arthur Gordon referred to him as 'The Cardinal'. In 1874-75 and 1890 Langham and his wife visited Melbourne mainly for their health. They finally left Fiji in April 1895 and lived in Sydney where Langham worked on the revision of the Fijian Bible. Though always reluctant in Australia to travel on deputationary work, he identified himself with the Orange cause and was easily persuaded to give anti-Catholic missionary lectures, which involved him in public controversy with Cardinal Patrick Moran. In 1898 Langham went to England to see his New Testament through the press. The subsequent burning of some testaments at the Roman Catholic mission at Namosi received much publicity in Australia. Langham's wife had helped his revision and was author of many Fijian hymns. Their adopted (European) daughter Annie Langham Lindsay died on 21 December 1901, just before the revised Old Testament was completed. His wife did not recover from this shock and died on 5 January 1902. Langham became a supernumerary in 1901 and travelled on deputationary work in Britain, mainly for the British and Foreign Bible Society, of which he was a life governor. He also shared in the 'simultaneous mission' of the Evangelical churches. In addition to the Fijian Bible he had published other works in Fijian, some in conjunction with other authors. Recommended by Sir William MacGregor, Langham was awarded a doctorate of divinity by the University of Glasgow. He died at Wilton Villa, Albion Grove, Hackney, on 21 June 1903 and was buried in Abney Park cemetery. Although he bequeathed a 'cannibal fork with human bone attached' to a sister in Melbourne, the rest of his Fijian collection was sold. He instructed his trustees to destroy his journals and correspondence but many of his original letters are in other collections. Physically impressive with leonine hair and beard, Langham cut his missionary role in the cloth of the schoolmaster. As a disciplinarian his punishments were severe but tempered with justice; he once insisted on being caned by a wrongfully punished boy. His relentless energy and simple piety won him renown as a great missionary by his denomination and those of the religious public familiar with the romanticized version of his career. Sepia toned carte de visite studio portrait of the Rev. Frederick Langham"Langham c.1873-77"rev frederick langam, wesleyan methodist missionary, minister, fiji

Yields information about the drawings that were used by the depot or workshop staff as reference drawings. Has a strong association with the depot workshop staff. Yields information about equipment on Ballarat tramcars and Signalling.Folder containing 46 blueprints or Dyeline prints of SEC tram equipment drawings. Front of folder made from a cloth back sheet of paper extended to secure to a thick cardboard runner. Rear of folder made from an old tram advertising panel or cardboard sheet, cut to size and secured to a thick cardboard runner with a cloth backing on both sides. Sheets secured with three brass screwed clips. Front cover damaged in bottom right hand corner. Rear cover breaking apart on outside around cloth binding. Heavy dirt marks from “grease” on bottom half of rear cover. Contains 46 drawings which have been individually catalogued and numbered on the rear of each drawing within the folder. Some of the drawings have been folded. Reg Item Micro Film No. Old BTPS No. SEC Drawing No Title 4807 42/4 1 VB4/8103C Westinghouse T1F Controller Main Cylinder Segments. 4867 47/2 2 BA-T8-8128 Westinghouse 225N Motor Case Bolt 4830 22/3 B 3 BA-T7-7666 Half Ball Brake Hanger Link, Driving Wheel, Brill Maximum Traction Truck 22E 4868 44/3A 4 BA-T8-8113 Split Suspension Bearing for Type W225 Motor (Westinghouse) 4869 52/2 5 BA-T8-8158 Contact Tips for G.E. Compressor Controller 4818 52/3 6 BA-T8-8159 GE B-23 Contact Finger Tips for G.E. Type ‘B’ Main Cylinder 4870 6/1 7A BA-T3-6734 Brass Nut for Switch Mechanism 4829 6/2 7B BA-T3-6735 Tongue Clip Link for Switch Mechanism 4871 6/3 7C BA-T3-6736 Fulcrum for Switch Mechanism 4872 6/4 7D BA-T3-6737 Plunger for Switch Mechanism 4832 7/6 8 BA-T3-6754 Pivot for Switch Mechanism No numbers 9 or 10 4873 17/5 11 BA-T7-7639 Detail of Motor Pinion for Brill Cars 4831.2 21/4 B 12 BA-T7-7661A Half Ball Hanger Links – single bogie trucks 4874 21/6 13A BA-T7-7663 Axle Box Inner Spring Driving Wheels Maximum Traction Truck 22E 4875 22/1 13B BA-T7-7664 Axle Box Outer Spring Driving Wheels Maximum Traction Truck 22E 4876 22/2 14 BA-T7-7665 Body Spring Brill Maximum Traction Truck 22E 4830.2 22/3B 15 BA-T7-7666A Half Ball Brake Hanger Link Driving Wheel Brill Maximum Traction Truck 22E 4877 22/4 16 BA-T7-7667 Body Spring, Brush Maximum Traction Truck 22E 4820.2 22/6 A 17 BA-T7-7669 Wear cups for Half Ball Brake Hanger Links, Single & Double Bogie Trucks 4878 50/5 18 BA-T8-8149 Connections of Line Breaker and Ratchet Switch for use with Drum Controller 4879 74/6 19 BA-T13-8757/9 Signal boxes, Back of Panel Wiring and External Connections 4880 45/1 20 BA-T8-8116 Trolley Harp 4806 15/3 21 BA-T7-7625 Equalizing Lever, Fulcrum, Brill 21 E truck 4881 15/5 22 BA-T7-7626A Brake Beam Fulcrum Brill 21E truck 4808 16/1 23 BA-T7-7628 Pinion Remover, GE 201G and GE 202 motors 4882 16/3 24 BA-T7-7630 Spring Posts, Brill 21E Truck 4883 21/3 25 BA-T7-7660 Brake Shoe Holder, Driving Wheel, Maximum Traction Truck Brill 22E 4884 21/5 26 BA-T7-7662 Brake Rod Guide, Single Bogie Trucks 4885 22/5 27 BA-T7-7668 Brake Shoe Holder, Pony Wheel, Maximum Traction Truck Brill 22E 4809 42/2 B 28 BA-T8-8101 Trolley Wheel and Axle 4815 42/1 B 29 BA-T8-8102A Motor Suspension Bearing, GE 202 Motor 4796.2 42/5 30 BA-T8-8104 Connection Diagram WH 225N Motor 4886 42/6 B 31 BA-T8-8105B Motor Suspension Bearing, GE 201 Motor 4797.2 48/6 32 BA-T8-8137 WH T1F Controllers 4816 49/2 33 BA-T8-8138 Connection Diagram GE 202 Motor 4887 49/3 34 BA-T8-8139 Connection Diagram K-36-J Controller 4888 50/3 35 BA-T8-8146 GE K-36-JR Controllers, with line breaker (Connection diagram) 4889 50/6 36 BA-T8-8150 Commutator for Westinghouse 225N Motor 4846 51/1 37 BA-T8-8151A Armature Bearing Lining, Commutator End, Type GE 201G Motor 4813 51/2 38 BA-T8-8152 Armature Winding Diagram Westinghouse 225 Motor 4840.2 51/40 39 BA-T8-8154A Armature Bearing Lining, Pinion End, Type GE201G Motor 4890 51/6 40 BA-T8-8156 Armature Bearing Lining, Pinion End, Type GE202A Motor 4891 52/1 41 BA-T8-8157A Armature Bearing Lining, Commutator End, Type GE202A Motor 4892 64/5 42A BA-T9-8392A Step Hangers, Single and Double Bogie Trucks, Hinged Type 4785.2 64/6B 42B BA-T9-8392/1A Step Hangers, Single and Maximum Traction Trucks, Fixed Type 4812.2 43/1 43 BA-T8-8106B GE K36J Controller, Main Cylinder Segments 4893 50/2 44 BA-T8-8145A GE B23E Controller, Main Cylinder Segments 4816 65/2 45 BA-T9-8394B Door Lock for Motorman’ Cabin Maximum Traction Trucks. 4810 73/3 46 BA-T13-8757 Ballarat Electric Tramways Signalling System, Arrangements & Details of Box.On front cover of folder, "1 - 46"trams, tramways, drawings, ballarat, sec, depot, workshops

Taken some time after 1864, these photographs depict the Star Hotel both directly (8674.1) and from the Hotel north west down Ford Street (8674.2). The images depict the building with its modern exterior, having settled for this brick form after several other building designs. The Star Hotel was the first hotel opened in Beechworth, and would go through a series of dramatic changes under its first three owners. The original timber structure was built by W.H. Neuber, though at the time it was only known as ‘The Beechworth Hotel’. The site was later purchased in 1855 by mining entrepreneur, and prolific business owner, John Alston “Six Stars” Wallace. He would go on to extend the established hotel, rebuilding much of it with weatherboard and a shingled roof, adding a two storey structure with a verandah and a theatre capable of supporting 400-500 people, which was often used for international performances. Renamed as the Star Hotel, it was the second in a chain franchise, eventually leading to the “Six Stars” moniker Wallace went by, with hotels at Rutherglen, Chiltern, Yackandandah, Bright, Snake Valley, and of course, Beechworth. Under his ownership, it developed into a popular location for merchants, wayfarers, and locals alike, with the help of his brother Peter as manager. Situated on a road once synonymous with Melbourne to Sydney roadtrips, and the allure of the gold mines, the popularity of the Star drew all manner of clientele from across the country. As such a central hub, the ‘Star Assembly Rooms’ were used as a meeting place for debates, discussions, festivities, and problem solving among the various working sects of the area. These meetings included shareholder discussions for prospecting companies, railway planning, council meetings, and discussions surrounding the interactions between European and Chinese miners, both good and bad. By late 1856, John had the Beechworth at auction through J.H. Grey & Co. It was most likely due to the high profile murder of the manager, Robert Murdoch, during an altercation in relation to a dine and dash event by a Swedish miner, Charles Jansen, who had been ‘excited by drink’ on November 17th. He had refused to pay for his meal and waiter James Mitchell failed to persuade him otherwise. Mitchell, or possibly Murdoch himself, forced him out as tempers and threats escalated. As the photos tell, there are a number of doors which may be entered through, and Jansen used an alternate entrance to access the building. Murdoch was investigating the noise when he encountered the furious man. He was subsequently stabbed with no warning by a small clasp knife, as he tried to stop the intrusion. His exclamations, "I’m stabbed, I’m stabbed!” alerting other occupants, and Jansen was restrained and arrested. Murdoch died the next day from his injuries, with the inquest carried out on the theatre stage. Some 3000 members of the town attended the funeral, and the Star hung black cloth in memory of Robert and his death. Afterwards, an auction caw the property pass to Messrs Robertson and Quirk, though would return shortly thereafter to Six Stars’ portfolio. Six Stars would later sell off his properties from 1862, with the Beechworth Star purchased by 1864 by John Sitch Clark. This allowed Clark to redevelop a significant portion of the Hotel, stripping a central section and constructing the brick structure that survives today, reopening the Star in July that year. It was after this time that our photographs were taken. Clark would later sell the property to Frank Mitchell, shortly before his own death. The next owner, Frederick Allen, lived on the property before the deed was sold to him in the 1880s. He would later sell the property to William Carroll in 1890, with proprietorship eventually moving to Mr. W.H. Porter, and transferring to a Mr. Marendaz by 1913 and Mr. Holly in 1915. Licensing disputes would arise 1917 between Margaret Carroll and a Mrs. McDonald, before it became delicenced some years prior to 1935. It was around this year that the property was bought by Mr. W.J. Pemberton at the meagre price of £500, down from the £13,000 Six Stars originally auctioned it for. It served as a Youth Hostel for a period of time around 1972, and currently the building serves as a private accommodation on the second floor, with shops taking up the ground floor level.These photographs of the Beechworth Star Hotel as they depict a form of Beechworth's first hotel, and also the site of a high profile murder. Two black and white rectangular photographs printed on matte photographic paper.8674.1 (reverse) Beechworth/ 734/ Tanswell’s Hotel [crossed out]/? Old Star/ Hotel,/[small pencil scratching]/ Saunders/ BMM 8674.1 8674.2 (reverse) Beechworth/ 60%[circled]/ Old Star Hotel/Building etc.,/ 12 ½ cm/ 3"[circled, arrows extending horizontally to edges]/[arrows extending top to bottom mid-right of reverse]/ Saunders/ 734[circled]/ BMM 867.2,/ [thin scribbled bordering around top, right, and bottom edges]star hotel, beechworth hotel, john alston wallace, ja wallace, john sitch clark, frederick allen, robert murdoch, meeting place, tragedy, theatre, mining town

Tatting is a form of knotted lace making using thread and a small shuttle. Twisted threads are tied around or through small, pointed shuttles that can be made of bone, mother of pearl, tortoise shell, steel or plastic. This produces a stable, strong lace using simple knots of two half hitches to make rings and chains embellished with picots. The origins of tatting are not clear but early versions of decorative knotting were used by the Egyptians on their ceremonial dress. Tatting also has elements of fishermen's net making techniques and the decorative knotting that was practiced by aristocratic women from the 15th century. Tatting, as we know it today, emerged in the first half of the 19th century. The new availability of mercerised thread from 1835 encouraged a burgeoning of lace crafts of all sorts. It was known in Italy as "occhi" and in France as "la frivolite". Tatting looks fragile but is both strong and durable. An article in a column named "Wives and Daughters" published in the Star newspaper in May 1910 describes the durability of tatting lace - "there is edging and insertion still in existence that have outworn two sets of pillow slips." In the 19th century and well into the 20th century, tatting was used like crochet and knitted lace for decorative edgings, collars, doilies, tray cloths etc. At first, different tatting patterns were passed along by word of mouth from person to person, however in time, patterns regularly appeared in newspapers and magazines well into the 1950's. This book has photographs and detailed instructions for a wide range of tatted edgings and insertions suitable for household linens such as towels, doilies and tablecloths as well as patterns for whole mats. Stanley E. Mullen (a businessman) developed Semco Pty Ltd which began as a Melbourne based importation company in 1907. The first three letters of Semco's name were his initials. In 1915 it began manufacturing women's apparel, whitework and transfer patterns. In 1924 the company moved to Black Rock, Victoria and continued to produce an extensive range of needlework patterns and handcraft instruction booklets, threads etc. up until the late 1970's. Semco had a staff that included many young women. It was noted by E.J. Trait (editor of the local newspaper "Standard News") that the firm provided them with good working conditions and the correct rate of pay for women in a time of war - the starting rate for 15 year olds, mainly girls at Semco was 25 shillings per week. During World War 2, Manpower Regulations could be used to coerce workers to move into jobs that supported the war effort, but Trait argued that being employed at Semco could make this unlikely as the firm made some goods essential for the war effort. He even suggested that women be encouraged to produce needlework items (and play a part in the war effort) by sending them as presents, to the troops up north. He also heaped praise on the Semco workplace - noting that no Saturday work was the norm, allowing employees to shop and have "hair-do's" before enjoying a relaxing weekend! Semco also had a female cricket side in the women's Saturday association. After the war the firm stayed in production until the early 1990's when it was taken over by Coates-Paton Pty Ltd. Norma Benporath (1900 - 1998) was an expert in tatting techniques and taught and published extensively on the subject. She was born in New Zealand with impaired sight but cataract surgery restored 50% vision to one eye. She was inspired to learn tatting whilst watching her aunt tat and being told that tatting did not require as much sharp vision as embroidery. She quickly learnt to design her own patterns and published over 1000 tatted lace patterns between 1929 and 1952. She became a regular contributor to magazines (such as Home Beautiful) and newspapers across Australia. Her designs were also published in New Zealand, South Africa as well as the U.K. and U.S.A. When Semco, a thread manufacturer, noticed a rise in the sale of fine crochet threads, they realized they had an untapped market to explore. Norma designed a collection of tatting patterns for Semco that were used to help promote their threads. Norma also worked with Semco to produce a line of threads and shuttles specifically suited to tatting. In 1997, Norma was inducted into the "Order of Australia" for "Service to the craft of tatting as a designer and through the international publication of her patterns".This item is an excellent example of the needle work being enjoyed by women in the 1940's in Australia and the skills of the Australian designer, Norma Benporath. It is also an example of the trend that emerged for craft companies such as Semco to publish pattern books in order to advertise their own materials.A 32 page soft cover instruction book with green front and back covers showing two tatted doily designs. The book includes black and white photographs and written patterns by Norma Benporath.Front cover - "TATTING" "For / EXPERTS/ and / BEGINNERS" "By/Semco" "SEMCO INSTRUCTION BOOK" "No. 16" "WITH ILLUSTRATIONS AND INSTRUCTIONS" "9" Back cover - "FOR INSTRUCTIONS FOR WORKING SEE PAGE 22" "Published by Semco Pty. Ltd." "BLACK ROCK, 29, VIC"flagstaff hill maritime museum and village, warrnambool, great ocean road, tatting, tatting instruction book, tatting patterns, tatting shuttle, semco, semco pty ltd, norma benporath, needlework, handcrafts, household linen, craftwork

Yields information about the style and printing of tickets used in Ballarat tramways and how they were presented at the commencement of the SEC fare system. Generally issued c1963, some have dates on rear.Group of eight different pre-decimal values of used SEC Ballarat Tickets, ex the Wal Jack Collection. Tickets already held on the BTM system in blocks. All except .7, have a tartan or criss cross back. 1. - 5d Green (5 No. - B400836, B265927, W808385, B400835, Z742326) - note the same as Reg Items 3991 and 3994, though the printing of the section marks do vary a bit. These were not imaged. 2. - 5d Green (M714336) - imaged - has different section system on the side to the above - used 1/3/1963. 3. - 6d Teal - (34 No.) - some sequential - All A series. Note the same as Reg Item 3993. 4. - 6d Teal (L918047) - imaged 4009i4 - has different section system on the side to the above. 5. - 8d Red - (5 No. all A series, 292132 & 3, 206314, 315138 & 362937) - note the same as Reg Item 3984. 6. - 2d Red (S306797) - different section layout to Reg item 3986. 7. - 1 1/2d - (Ad705016) - black ticket, with red overprint of 1 1/2d fare and ticket prefix number - similar to Reg Item 2115, but different sectional layout. The section layout is the same as Reg Item 2116. Has Bushells Pty Ltd Tea advertisement on the rear. 8. - 3d City Section, Orange - (3No. A032622, 036606, 047637) - note the same as Reg Item 3982. All have dates on the rear - August 1963. 9. - 3d Concession - Orange, (A447731, 470928) - note the same as Reg Item 3989 and 4001. One has date of 1/3/63 on rear. 10 - 4d Brown (7 No. Y997727, 998446, Z004193, 005655, 012671, 018609 & 024899) - Some have dates of 1963 in pencil on the rear. Note the same as Reg Item 3995, though different series letter. All tickets and Reg Item 4006, 4007, 4010 to 4018 were received originally in a folded cloth wrapper - wax canvas? - with "All Since 1/3/1963 /3d Concession since 1/8/63" written in pencil on it. Stored with this item. See image btm4009i3. Tickets have not been formally numbered on the rear for this item No. All numbers recorded except for the 6d Teals. trams, tramways, secv, ticket

See Item 11000.189A Collection of Photographs of decorations for Hanro Window Display: All black and white photo's. Photo A) A soft toy of a lamb with a bow around its neck and in the mouth is a garment with Hanro embroider on it. On the back is the number 2056 hand written in blue ink. Photo B) has two cane suitcases with handles one smaller than the other. Both have flowers woven through the cane. A petticoat with lace and two thin straps at the top is laid through the larger suitcase and a sign *Hanro* sits on the bench. On the back is 2100 hand written in blue ink and in pencil VV11. Photo C) Is of a Cane French Horn with a bunch of flowers in the horn part. A Hanro sign is attached to the middle of the Horn and a petticoat with a lace bodice and hem and two thin straps is draped through the bottom of the French Horn. Some glue on the back and 2114 in biro, 14 in pencil. Photo D) Is a mock cloths line in front of a dark background with three petticoats. The first has a lace top and hem with two straps pegged to the line, the second is hung upside down with two pegs. It has a lace top with a V neck. The third has a lace V neck top and at the hem line. The garment is pegged to the line by the straps. There are two pots with flowers hanging from the line. Photo E) A vase made of cane with flowers and a Hanro sign attached. Two petticoats either side are laid on the bench both with a lace bodice. There are two Hanro signs on the table. On the back in blue ink hand written is *Dek. Nt.2094 Photo F*. There are three cane baskets with flowers and Hanro signs at the top of each hung on a wall and two cane baskets with flowers on the table. One petticoat is hung up on the wall through the baskets. The petticoat has a lace border at the bodice, The other is laid on the table, has a V neck and lace border. A Hanro sign is in front of the petticoat. On the back printed in blue ink is *Dek. Nr. 2098* Photo G) Is three bunches of flowers to have Hanro sign attached. On the back is *Dek. 2077. Photo H) Is three groups of several crystal balls strung together with pine needles at the top and the sign Hanro at the top of each. On the back hand printed in blue ink is *Dek.2124* The photos were together in a piece of paper which has writing in green ink *Decorations for clients window display*.Reg. V. Brock Studiosphotograph, hanro. reg. v. brock.

Bates' Salve has been used as a home remedy for the treatment of boils, skin infections, splinters, pimples and insect bites for decades, from the mid-1800s to the mid-1900s. It is a drawing application for bringing out foreign bodies and pusses from a wound. There are still many families who remember using it and others who have been using it and are down to their last ‘inch’. One comment from a reader from Queensland tells how his Dad was a sleeper cutter in the 1950s and on school holidays his brother and he used to help their Dad. When doing this task after a wet season they would be confronted with spear grass about a metre high. Sometimes the spears would enter their skin, and when the spears were wet they would screw like a corkscrew into their flesh. If they left them for too long it was impossible to dig them out with a needle. That's when the Bates Salve was put into action to draw the spearhead out. "It worked wonders. It was a marvellous invention." Many people say that they would love to be able to purchase more of it today and hope that someone will produce a ‘safe’ version of it. There are several versions of a recipe for the salve available online. It appears that the salve is named after Daisy Bates, wife of the Bates’ Salve proprietor, William Usher. William’s son Victor continued making Bates’ Salve well into the mid-1900s, with the business being carried on by Victor’s only son, Alan. There are still descendants in the family home in Norwood, Adelaide. William’s great-grandchild has stated that, despite being subject to the salve during childhood, there have been no noticeable ill effects. A small notice in the Adelaide Advertiser in 1915 made a suggestion “It is said that Bates’ Salve is the popular line with OUR BOYS in Gallipoli. They recently sent to the Adelaide Red Cross for a supply, so it would be a good line to put in soldiers’ Christmas Billies.“ Over 700 ‘Christmas Billies’ were sent from generous Warrnambool citizens to our soldiers in the trenches in Gallipoli. The average cost of filling a billy with gifts was Ten Shillings, calculated at about Fifty-four Dollars in 2021. The contents included Christmas puddings and tobacco. The huge project was coordinated by a local Committee and involved generous businesses and hundreds of kind-hearted community members, with recognition sown by naming many of those involved in an article in the Warrnambool Standard. The project’s idea was initiated by Australia’s Department of Defence and all states were involved in supporting the soldiers in this way. Mr Bates (Theopholis) of Hull, England, was the original owner of the Bates’ Salve recipe. When he died he left his business to William Usher, his son-in-law. William arrived in South Australia in 1851 after he had sold his recipe to an English firm, giving them the rights to make and sell it all over the world, except in Australia. Bates then became the registered proprietor of Bates’ Salve for the Commonwealth and still had a large market for his product. William Usher made the salve at his Norwood home, in a wood-fired copper in the garden within a three-sided enclosure. The ointment was then taken to a room in the house where it was divided, labelled and packaged. It was then sent to Faulding’s Wholesale Chemist for distribution. William and his wife May (or Mary) had three children; Jack, Victor and Ivy. When May died, William married Mary Williams (May’s maid, from Tasmania, twenty years younger than William) and had seven more children. The treatment’s packaging labels it as a POISON. It seems that its active ingredient was lead oxide (22 per cent), which is no longer considered unsafe. A member of the public mentioned that in 2016 they found some Bates’ Salve in an old family medicine chest. Its label stated that the product “contains a minimum of 25.8 per cent of red lead oxide”. That particular sample was made at 470 Wallon Road, West Molesey, Surrey, England. Some people would love to be able to use the product still and even take the risk of poisoning. Instructions for its use are included on the wrapper. Here is a transcription - "Bates' Salve. Bee Brand. POISON. This Preparation contains 22 parts per centum [lead oxide]… Made by Descendants of the Inventor and Original Proprietor. For use as a medicated plaster. Melt over a slight flame or use a heated knife to spread the salve on a piece of linen. If away from a joint it will not need tying as, when put on lukewarm, the plaster will hold itself. When the salve adheres to the skin moisten it with oil and wipe it off with a dry cloth. Manufactured by the direct descendants of the inventor and the original proprietor since 1833."This package of Bates' Salve has been used as a home remedy since the mod-1800s and even up to now in 2019 by those who consider themselves lucky to still have some at home. It was promoted as a 'cure all' treatment and kept handy for use at home and away. It represents our early industry and health management when medical treatment was often difficult to access. The product is the part of many childhood memories of those alive today.Bates’ Salve ointment; oblong stick of firm, brown waxy substance wrapped in waxed paper, with an outer printed wrapper. Text on wrapper warns that it is POISON and includes instructions for use as a medicated plaster, to be heated and spread onto linen then applied to the injury. Made by Bates & Co., Adelaide. The wrapper shows an emblem of a bee. The formula has been used since 1833.Text on wrapper includes "POISO[N]", "BATES' SALVE", "BEE BRAND", "BATES & CO., ADELAIDE". "This Preparation contains 22 parts per centum [lead oxide]" There is an emblem of a bee with wings outstretched.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, bates’ salve, bates’ salve medicated plaster, bates and co adelaide, bee brand, medicated plaster, medical treatment, remedy, drawing treatment for infection, medicine cabinet, home remedy, pharmacy treatment, mid 1800s – mid 1900s remedy, topical application, treatment for boils, bites, splinters and infections, poison, preparation for treatment, ointment

TROVE : Evening News (Sydney, NSW : 1869 - 1931), Thursday 11 October 1928, page 13. NEW COMPANIES The following new companies were registered this afternoon :- Australian Essential Oils Ltd : Nominal capital. £50,000, in 93.000 ordinary and 7,000 deferred shares at 10/-. to engage in business of distillers, manufacturers of, and dealers in oils from vegetables and other sub-stances, chemists etc. First directors: N. H.B.Keynor, R.K.Allport, E.M Humphries, and H. James. Head office Sydney. TROVE : Government Gazette of the State of New South Wales (Sydney, NSW : 1901 - 2001), Friday 26 July 1968 (No.89), page 3028 IN the matter of the Companies Act, 1961-1966, and in the matter of AUSTRALIAN ESSENTIAL OILS LTD (Receiver and Manager Appointed).—Roy Leslie Pegler, Receiver and Manager of Australian Essential Oils Ltd (Receiver and Manager Appointed)„ appointed by debenture holders on the 11 th July, 1966, hereby gives notice that any debenture holders and others having any claim against or to Australian Essential Oils Ltd (Receiver and Manager Appointed) are required to send particulars of their debenture or claim to the Receiver, Roy Leslie Pegler, at c.o. Messrs Pegler, Ellis & Co., Chartered Accountants, 235-7 Elizabeth Street, Sydney, N.S.W., on or before the 27th September, 1968, at the expiration of which time the Receiver and Manager will distribute the assets of the said Company to the persons and/or companies entitled, having regard only to the claims of which he then has notice.—Dated 24th July, 1968. PEGLER, ELLIS & CO., Chartered Accountants, 235-7 Elizabeth Street, Sydney, N.S.W. 8744—$5 White cardboard box printed in dark green with a round blue and white sticker on one side, containing a cream paper leaflet printed in dark green, wrapped around a greaseproof paper wrapped rectangular cake of translucent brown soap with impressed text on one side.Impressed on one side of the cake of soap ' A PRODUCT OF AUSTRALIAN ESSENTIAL OILS LTD SYDNEY'. On reverse of soap impressed 'TI-TROL ANTISEPTIC TOU\ILET SOAP'. Printed on the box 'TI-TROL ANTISEPTIC AND GERMICIDAL TOILET SOAP. Printed Leaflet wrapped around cake of soap 'Germicide TI-TROL Antiseptic, Toilet Soap ELEVEN TIMES MORE POWERFUL THAN CARBOLIC. NON IRRITANT ………NON POISONOUS. “Ti –Trol” GERMICIDAL ANTISEPTIC SOAP is the most modern of all toilet soap …..Distilled and manufactured by Australian Essential Oils Ltd., the pioneers of Tea-Tree Oil Industry in Australia, and manufacturers of that famous antiseptic solution Melasol. It has taken years of patient research, of test, trial and experiment to reach the pinnacle of perfection which Ti-Trol Soap is now offering to the public. Ti-Trol is a hand-made glycerine base soap in which only the finest ingredients are used. One of its most attractive features is that it contains a full three per cent. of “Ti-trol”. In medical and clinical practice, both in Australia and abroad, Ti Trol has given remarkable results…particularly in its cleansing properties: its soothing HEALING action on dirty and inflamed septic wounds. By incorporating Ti-Trol in a glycerine base soap, experts are agreed that the result….. Ti-Trol soap is unequalled-anywhere- for its soft soothing healing and germicidal properties. Ti-Trol soap is non-irritant and non-poisonous and can be used on the tenderest skins…babies’ or the most delicate peach-bloom complexions, with most excellent results. . PRODUCT OF A SOAP MAKER OF INTERNATIONAL EXPERIENCE Australian Essential Oils Ltd., have been fortunate in procuring the services of a soap-maker of International experience and world-wide knowledge of Soap Production, whose genius has produced Ti-Trol, and whose uncanny sense of blending has made Ti-Trol the most famous of all Germicidal Toilet Soaps. Ti-Trol is non-irritant and non-poisonous and has been proved by medical and specialised authorities top\ possess great healing and cleansing properties. It is a powerful Germicide and antiseptic….ELEVEN TIMES QUICKER THAN PURE CARBOLIC. . DANDRUFF CAN’T LIVE WITH Ti-Trol. Dandruff ......that horrible “give away” which many men and women suffer from…..can easily be dispelled by using Ti-Trol Soap this way : Rub a little Olive Oil into the scalp before retiring at night, and the following morning wash your head thoroughly with Ti-Trol Soap, allowing the lather to remain on the scalp for about a minute and a half. Then rinse the hair thoroughly in warm water. .WASH BRUSHES AND COMBS WITH Ti-Trol SOAP When you’ve done this and dried your hair, wash all your brushes and combs in a strong, soapy solution made with Ti-Trol Soap, and then carefully sponge the inside of the hat bands with a flannel or cloth moistened with this soapy solution. Follow these directions and you’ll never need to fear dandruff. .Ti-Trol…WONDERFUL HEALER OF CUTS. SORES, WOUNDS, ETC. There never was a more patent healer of CUTS, SORES, WOUNDS, ABRASIONS AND SEPTIC SORES than Ti-Trol… Here’s how to use it : Wash the affected parts with a fairly strong Ti-Trol soapy solution made with warm water, and then apply with lint soaked with Melasol, which is the miscible form of Ti-Trol (Melasol is obtainable at all chemists and stores everywhere). . Ti-Trol SOAP……..A DEODORANT, A BEAUTIFIER……a safeguard for tender skins Ti-Trol Soap, because of its delicate, pungent, aroma and antiseptic properties, is unequalled as a deodorant, and is never failing when used for this purpose. Ti-Trol Soap can be used on the tenderest skins, and even baby’s skin, with greatest safety. It’s delightful fragrance will give added pleasure to your toilet. . DO NOT WASTE Ti-Trol Soap is too valuable to waste. Therefore, use it carefully. Do not leave it in the water. To obtain greatest economy it is preferable to use a face cloth when using Ti-Trol Soap. For health, for the most economical means of insuring against disease, use Ti-Trol Ointment…..for cuts, bruises etc. Ti-Trol….for boils, cuts, sores, abrasions and septic conditions. MELASOL…..for Tinea, Mouth Wash and as a Dentifice. . All are products containing Ti-Trol, distilled and provided by Australian Essential Oils Ltd. 18 Loftus Street, Sydney. N.S.W.'. tea tree oil, soap, glycerine, antisptic, germicide