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Chiltern Athenaeum Trust
Painting - Oil Painting, Alfred Eustace
This is one of a set of 3 miniature oil paintings by the self-taught artist Alfred William Eustace (1820-1907). A.W. Eustace, an Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.Miniature oil painting of a landscape with creek and surrounding trees by A.W. Eustace, under glass, in original dark brown timber frame with beige matte and a twist wire stand. One of 3 miniatures. Sticker on back: 188 (original Registration number)alfred eustace, chiltern, oil, landscape -
Chiltern Athenaeum Trust
Photograph - Gum Leaf, Alfred Eustace
This is a colour photograph of a gum leaf painting that is one of many done by the well-known self-taught Australian artist Alfred William Eustace (1820-1907). A.W. Eustace, an Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.Colour photograph of an oil painting on gum leaf by A.W. Eustace. A man is panning for gold in a stream with a house and hills in the background. Under glass in a decorative gilt and cream coloured plastic frame.Hand writing on tape at back of frame: COPY OIL ON GUM LEAF 10" x 5" A W EUSTACE owned by Betty & Alf Brownlie 2260alfred eustace, gum leaf painting, chiltern, gold panning, gold -
Chiltern Athenaeum Trust
Photograph - Gum Leaf, Alfred Eustace
This colour photograph of a gum leaf painting shows one of the many landscapes done by the well-known self-taught Australian artist Alfred William Eustace (1820-1907). A.W. Eustace, an Australian artist and taxidermist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.Colour photograph of an oil painting on gum leaf by Alfred Eustace. Landscape featuring a deep creek surrounded by thick bushland displayed against dark brown backing paper which has a gilt oval surround to highlight the painting. Under glass, in a gold and dark brown metal frame.Sticker on back: 189. (the original registration number)alfred eustace, gum leaf painting, landscape -
Chiltern Athenaeum Trust
Photograph
This black and white photograph of the grave of A.W. Eustace is believed to have been taken in September 1987 at the Chiltern New Cemetery. Alfred William Eustace, an Australian artist, was born in the small village of Ashbury, Berkshire, England, the son of John Eustace, Head Game-keeper to the Earl of Craven at the beautiful Ashdown Park. He migrated to Australia with his wife and children in 1851 and camped next to the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was owned by the Withers family and was in excess of 55,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skillful taxidermist. The collection of birds and animals that are in the Beechworth Museum collection are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by his relatives from the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.A. W. Eustace, as well as being a well-known Australian artist, was a significant member of the Chiltern community.Black and white photograph of the grave of A.W. Eustace, under glass, in a metal frame.Sticker on back: 184 (original Registration number)a. w. eustace, grave, chiltern new cemetery -
Chiltern Athenaeum Trust
Photograph
Alfred William Eustace (1820-1907), an Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and camped beside the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush and painted on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. He became known as the "Bush Artist." About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth. A.W. Eustace was a significant member of the Chiltern community during the 19th century and his artwork was displayed widely, even in European royal homes.Copy of sepia photograph of A.W. Eustace in a brown wooden oval frame with a copy of A.W. Eustace's signature across the bottom of the photograph.Sticker on back: 194 Sticker on back: MADE IN/ CHINA/ FABRIQUE 'AU/CHINEa.w.eustace, photograph, chiltern -
Chiltern Athenaeum Trust
Photograph - Reproduction
These copies of five oil on gum leaf paintings by Alfred William Eustace (1820-1907) display the subjects and detail of his small gum leaf paintings. A.W. Eustace, a well-known Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush and painted on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. He became known as the "Bush Artist." About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skillful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.Alfred William Eustace was a well-known self-taught Australian artist who was known worldwide for her unique oil on gum leaf paintings. He was also a prominent Chiltern citizen.Copies of five A.W.Eustace oil paintings on gum leaf, under glass, displayed on blue paper in a black metal frame.alfred eustace, gum leaf painting, chiltern -
Nillumbik Shire Council
Ceramics (plate): Mary-Lou PITTARD, Mary-Lou Pittard, Serving platter
Mary-Lou began exhibiting in the mid 1980s and over the years has been known for producing unique pieces of domestic ware influenced by food and traditional ceramic ware of the past.Food and tradition have always played a big part in Mary Lou’s ceramic work. 'Serving Platter' is rich in colour. The decorative designs are inspired by her surroundings in a style reminiscent of the past. Mary-Lou and husband Chris have a studio and gallery attached to their residential property in Eltham North which is open to the public. They also participate in the Nillumbik Artists Open Studios program. Oval platter with bold, stylised flowers glazed in reds, blues and yellows.mary-lou pittard, eltham, nillumbik, ceramic -
Nillumbik Shire Council
Public Art: Wayne ALFRED (b.1958 Alert Bay, British Columbia), Wayne Alfred C/- High Commision of Canada, Commonwealth Games Totem Pole, Location: Eltham Library Foyer, Panther Place, Eltham, 2006
Wayne Alfred is a member of the Namgis Tribe of the Kwakwaka'wakw people. As a master carver he has an extremely high level of carving skill and knowledge about his peoples cultural objects, customs, tribal stories and legends. The Totem Poles of the North Pacific Coast in British Columbia and Alaska are traditionally carved out of red or yellow cedar, which has a spiritual and practical purpose. The wood was known for its durability, its resistance to rotting and the inner bark was utilised in ropemaking, clothing, hats, baskets and so forth. The Kwakitul People consider the cedar tree to be among the most sacred of all things provided by the Creator. They believed the Cedar tree to be the axis of the world and a pathway to the upper world. The wood is shaped using implements such as adzes, axes, chisels, carving knives, and chainsaws. Misinterpreted as Gods and idols to be worshipped, totems usually serve six purposes, such as a house pillar for support, a memorial or mortuary pole to commemorate (and house) the deceased, a potlatch pole (used for important traditional indigenous celebrations), a ridicule pole used to shame and a heraldic or family crest pole. Characters and symbols on these totem poles usually display family crests, history, wealth, social rank, inheritance, and privilege, as well as animalistic imagery derived from native animals and mythological creatures. Their sequence are indicative of past family events, ancestors, myths, and heraldic crests, with the bottom figure usually being the most prominent. In this work the 'thunderbird' is symbolic of power, strength and of ancestory. The Commonwealth Games Totem Pole was presented to the people of Nillumbik on behalf of the Canadian Government in recognition of Melbourne as the hosts of the Melbourne Commonwealth Games Team in 2006. Carved in cedar wood, this totem pole incorporates bold cuts and colours (such as red and green) offset by strong black. A relative degree of realism is used to depict the alligator located on the bottom of the pole, a man and a 'thunderbird'/eagle located on the top. With protuding element. No inscriptions. Bold cuts used to outline the characters and symbols as well as decorative and stylised features all over the pole. public art, kwakwaka'wakw, namgis, alfred, north pacific coast, british columbia, canada, totem pole, carved, commonwealth games, melbourne festival, cedar -
National Wool Museum
Booklet, 1940
Donated by Mrs Robyn Adams, daughter of Victor Clyde- a wool grower in North East Victoria. Mr Clyde used this waybill booklet to record the details of wool bales which he sold through Goldsbrough Mort. The front yellow carbon paper slip indicated a sale of wool in 1946.Red paper booklet with three staples on left side spine. Front cover has an image of a rams head above decorative text reading -Goldsbrough, / Mort / & Company Limited-. Company address and services are also listed on front cover. Back cover has an image and addresses of warehouse storage locations. Inside front and back covers are instructions and tips on how to use the booklet. Several yellow lined pages are included inside, some of which have been removed. These pages are used to record bale details with carbon paper. There is a small, handwriten word on th front cover above the word MELBOURNE.wool growing, wool production, wool auctions, wool sales, wool transport, mrs robyn adams, elder smith goldsbrough mort limited -
National Wool Museum
Booklet, 1947
Donated by Mrs Robyn Adams, daughter of Victor Clyde- a wool grower from North East Victoria. Mr CLyde would use this booklet to record the details of the wool bales which he sold through Goldsbrough Mort. The first yellow sheet in the booklet indicates that it was filled out in 1947.Faded red/orange paper booklet with three metal staples on left side spine. Top of front cover has an image of a rams head above decorative text reading -Goldsbrough, / Mort / & Company Limited-. Address and services provided are also listed on font cover. Back cover shows an image of a warehouse and gives addresses of warehouse storage locations. Inside front and back covers have instructions and tips on using the booklet. There are several yellow pages upon which can be recorded the wool bale details, transferred between pages with missing carbon paper. There is a loose, small white sheet of paper which displays an example of how the yellow sheets should be filled out.wool sales, wool auctions, wool transportation, wool bales, mrs robyn adams, elder smith goldsbrough mort limited, dalgety and company limited elder smith goldsbrough mort limited, goldsbrough, mort and company limited -
National Wool Museum
Handbook, 1966
Donated by Mrs Robyn Adams, daughter of Victor Clyde- a wool grower from North-Eastern Victoria who used this itemWhite paper booklet with four staples on left spine. Front cover has heading -ELDER SMITH / GOLDSBROUGH MORT / LIMITED-. at top centre. Text also reads -WOOL HAND-BOOK / AND WAYBILLS-. Text is black and there are four red horizontal bars on the cover. Inside front cover has list of points to remember. First pages have instructions. Booklet contains several lined yellow pages which can be copied with carbon paper, or removed. Inside back cover has a foldable map. Back cover had a ready reckoner printed.wool sales, wool auction, wool transport, mrs robyn adams, elder smith goldsbrough mort limited, dalgety and company limited elder smith goldsbrough mort limited -
Stawell Historical Society Inc
Textile - Blanket from North Western woolen Mill, North Western woolen Mills, 1976
Red Green & Brown Woolen Blanket with Presentation PatchPresented on the 50th Anniversary of the Commencement of the North Western Woolen Mill Pty Ltd.manufacturer, industry -
Stawell Historical Society Inc
Archive - Laboratory Books, An Introduction to Textile Mechanisms - P Grossberg
From Dye Laborataory AUNDE / Norwellan North Western Woolen Mills became Norwellan Textiles then AUNDERed an Yellow Cover with B/W image of MachineryJohn Bennett 8/10/69manufacturing -
Stawell Historical Society Inc
Archive - Laboratory Books, Textile Engineering Processes, A.H. Nissan
From Dye Laborataory AUNDE / Norwellan North Western Woolen Mills became Norwellan Textiles then AUNDEDark Red Cover with name on SpineSandra E Ingrammanufacturing -
Stawell Historical Society Inc
Archive - Laboratory Books, Work Simplification, The Australian Institute of Management
From Dye Laborataory AUNDE / Norwellan North Western Woolen Mills became Norwellan Textiles then AUNDELight Grey with red Writing and red wire spine.Issued to Graeme Bennett 7/12/1957manufacturing -
Stawell Historical Society Inc
Book - Laboratory Reference Book, Manual of Cotton Spinning Raw Cotton Production and Marketing, The Textile Institute & Butterworths
Textbook. Lab Reference - Norwellan & AUNDE North Western Woolen Mills became Norwellan Textiles then AUNDERed hardcover with Gold writing and Brown DustcoverJohn T Bennett, Lyddon Hall Leeds 17/10/1968manufacturing -
Stawell Historical Society Inc
Book - Laboratory Reference Book, Knitting, Pitman's Common Commodities and Industries by Harry Wignall
Textbook. Lab Reference - Norwellan & AUNDE North Western Woolen Mills became Norwellan Textiles then AUNDERed hardcover with Red and Cream DustcoverJohn T Bennett, Lyddon Hall Leeds 8/10/1969manufacturing -
Stawell Historical Society Inc
Book - Laboratory Text Book, Qualitative Organic Analysis, Experimental Chemistry Part III, P.A. Claret
Textbook, Lab Reference - Norwellan & AUNDE North Western Woolen Mills became Norwellan Textiles then AUNDERed soft cover book with Black title on coverBarry Bassettmanufacturing -
Stawell Historical Society Inc
Book - Laboratory Text Book, A Guide to Mechanism in Organic Chemistry, by Peter Sykes, Second Edition
Textbook, Lab Reference - Norwellan & AUNDE North Western Woolen Mills became Norwellan Textiles then AUNDERed soft cover book with Chemical Molecular Structure Diagram on coverBarry Bassettmanufacturing -
Stawell Historical Society Inc
Book - Laboratory Text Book, Chemistry: Principles and Properties, Sienko and Plane
Textbook, Lab Reference - Norwellan & AUNDE North Western Woolen Mills became Norwellan Textiles then AUNDERed soft cover book with Chemical Apparatus Diagram in Black on coverJohn T. Bennett, Lyddon Hall, Leeds 2manufacturing -
Stawell Historical Society Inc
Book - Laboratory Reference Book, Introduction to Textile Chemistry, by H. Harper
Laboratory Reference Book - Norwellan & AUNDE North Western Woolen Mills became Norwellan Textiles then AUNDERed hard cover book with Black writing on covermanufacturing -
Stawell Historical Society Inc
Book - Laboratory Reference Book, Theoretical Organic Chemistry, Cohen
Laboratory Reference Book - Norwellan & AUNDE North Western Woolen Mills became Norwellan Textiles then AUNDERed hard cover book with Black writing on coverJ M Bennettmanufacturing -
Stawell Historical Society Inc
Book - Laboratory Reference Book, Modern College Physics, Richards Sears Wehr Zemansky
Laboratory Reference Book - Norwellan & AUNDE North Western Woolen Mills became Norwellan Textiles then AUNDERed hard cover book with Green Cream and Black DustcoverJohn T. Bennett Lyddon Hall, Leeds 2manufacturing -
Stawell Historical Society Inc
Banner, NORWELLAN
Norwellan Now Closed. Evan Evans Flags & Promotional Products 2 Albert Street Preston Vic 3072 Phone: 03 9480 6611 Fax: 03 9480 6411 North Western Woolen Mills became Norwellan Textiles then AUNDEWhite material with Norwellan sewn in black. Logo sewn in red.NORWELLAN - and Logostawell industry -
Stawell Historical Society Inc
Archive - Labratory Book, Equipment Catalogues
Equipment catalogues used at Norwellan / Aunde North Western Woolen Mills became Norwellan Textiles then AUNDE5256 - Blue card cover:map of the world with longitude lines on left side 5256-1 Yellow Card Cover with Green Print 5256-2 Red Card Cover with 5 round photographs 5256-3 2 Ring Binder aith Light Blue stip in centre 5254-4 Red Card Cover with one photgraph and business card attached to top right corner 5254-5 Grey Card Cover with two photographs on left side5256 Quality Testing Equipment World Wide (15 X 21) 5256-1 Equiptex The Textile Testing Specialists (21 X 15) 5256-2 SDL Catalohue No 9 The Catalogue (21 X 15 X2) 5256-3 Manufactuers of Textile Testing and Quality control Equipment James H Head & Co Ltd ( 31X 25 X3) 5256-4 SDL Shirley Developments Catalogue No 6 (21X15X2) 5256-5 Labratory Catalogue and Price List (29.5 X21 X2)norwellan -
Stawell Historical Society Inc
Map - Electoral Map, Victorian Government, Map of North - Western ( Country) Electoral Province Legislative Council 1934, 1939
... Overprinted with Provinces In Red Map of North - Western ( Country ...Electoral MapMap Overprinted with Provinces In RedScale 8 Miles to 1 Inchgovernment -
Stawell Historical Society Inc
Map, Western Mining Corp / Stawell Joint Venture, Stawell & District with Mine Working Areas shown in red, 1987
Covers from Magdala East site to Germania in North and Hand in Hand at West Legend of Mine workings numbered. 1980's mining, gold, map -
Emerging Writers' Festival
Emerging Writers' Festival Badge
In 2010, Emerging Writers' Festival Director Lisa Demspter, ran a Zine Bus, which travelled around Melbourne's inner north and city running workshops, panels and events. The Zine Bus was held on Saturday May 29th, 2010. The badge is most likely form 2010.A small white badge with black text and a red love heart, produced for the Emerging Writers' Festival, mostly likely in 2010 and 2011.2010 emerging writers' festival, lisa dempster, literary programming, the wheeler centre, emerging writers', literary, festival, melbourne, zine bus -
National Wool Museum
Undervest, c.1960
These wool undervests were purchased by Edith Bender for her husband Edwin, prior to 1963. Edwin would catch a ‘Red Rattler’ train along the North Shore line to go to work in Pitt Street., Sydney. Edith was concerned Edwin would catch a cold in the unheated train or in his unheated office, so she brought these woollen undervests for him to wear to work. Edwin would wear the undervests under a woollen suit and with a woollen overcoat. Edwin passed away in 1963, at which point Edith stored the undervests away. They were passed to Edith’s daughter when Edith passed away in 1980. They were then passed to Tanya Davis on the death of her mother. Tanya donated the undervests to the National Wool Museum in 2021.2x cream wool undervests. Henley style with short sleeves and three buttons at the front. Labels from the maker ‘Braemar’ have been stitched to the neckline of both vests. An additional label is stitched under the first button on the front of both undervests. Label stitched to neck of vest: BRAEMAR / MADE IN SCOTLAND / OPTIMUS / PURE WOOL / TREATED TO RESIST / SHRINKAGE / QUALITY / B. OPTIMUS Label stitched to front buttons of vest: MADE IN SCOTLAND / FOR FARMER’S / SYDNEY Attached swing tag: BRAEMAR / The WASHING of WOOLLENS / PREPARE a bath of good bar or flake soap, thoroughly dissolved in water not hotter than the hands can bear. Squeeze the garments through the hands several times in the bath. Don’t rub them on a board. Rinse in warm water until soap is thoroughly removed. Wringing should be done in the hands. Stretch well to width and length and dry at once, preferably in the open air Stretch again in the hands when dry. Attached swing tag. Reverse: IMPORTANT POINTS / Do not use soda or washing powders. / This garment must not be subbed on a board, or subjected to mechanical friction.red rattler, wool clothing -
Whitehorse Historical Society Inc.
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