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Ballarat Tramway Museum
Photograph - Black & White Photograph/s, C Roy G Field, NSW steam tram Motor No. 2A at Randwick
... NSW steam tram Motor No. 2A at Randwick ...Contact Print?, of NSW steam tram Motor No. 2A at Randwick - No date. On rear stamped CRC Field, Sydney, 325. Image re-scanned at high density 14-9-2013 and record checked. On rear as above in ink "No. 2A motor @ Randwick" with number "325" written in on the CRC Field name stamp.trams, tramways, steam tram motors, nswgt , tram 2a -
Ballarat Tramway Museum
Photograph - Illustration/s, NSWGT tram No. 751
... NSWGT tram No. 751 ...A side and front elevation view from a reproduction of NSW Govt Printer photos of NSW Govt. tramways tram No. K 751. On rear is handwritten notes in ink concerning operation of brakes, where car kept and used in Sydney. Also Note where photo can be obtained. On the front elevation, the destination sigh has been hand colour red and green. "Government Printer NSW" inscribed in bottom left hand corner of both illustrations.Handwritten notes about the tram.trams, tramways, nsw, nswgt, k class trams -
Ballarat Tramway Museum
Ephemera, NSWG - Tramways Management Board, "Weekly Notice No. 12" - 12/3/1932, 10/03/1932 12:00:00 AM
... "Weekly Notice No. 12" - 12/3/1932 ...NSW "Tramways Management Board", alias NSWGT Weekly Notice No. 12, dated 12/3/1932, pages 373 - 4040 (would have commenced with Weekly Notice No. 1) - 16pp, printed document. Describes in detail, traffic arrangements for St. Patricks Day 1932 and arrangements for opening of tramway across Sydney Harbour Bridge to Wynyard. Record images added 20/8/2013.On front cover "See page 400 also back"trams, tramways, nsw, sydney, st. patricks day, newcastle, wynyard -
Ballarat Tramway Museum
Photograph - Copy photograph, Murray Views, Murray Views Photo No. 29, 1948
... Murray Views Photo No. 29 ...Yields information about Sturt St Ballarat during the late 1940's and the appearance of the trams at the time of the photograph.Photo of Sturt St. looking North East from Town Hall with tram 32 westbound. Tunbridge store (now demolished in photo), Murray Views Photo No. 29, noted on rear with handwritten note on rear. Has two punch holes on top margin. Assumed from notes, taken between late 1947 and 1948. Notes on Photograph of tram 32 passing Town Hall, in Sturt St., westbound Tramcar - has one colour side panels, which were applied to the trams between 1946 and 5/1950. (Car history cards may define the date 32 was painted - see record 5543/ ) Between 1935 and 1946, trams were painted with cream rocker panels and green under the windows as tram 27 is currently painted. From discussions with Kevin Monkhouse (MFBB) on 27.11.95, the car crossing Armstrong St from North to South is a Ford Roadster, of the 1935 era. Other cars in the street are also pre-war cars. No Holdens' are easily apparent. From this, the date of the photograph taken is assumed to be post 1946, but before 1948. Reg Item 5543, gives the date of painting of the tram to all green as September 1947. Warren Doubleday 27.11.95 and updated on 14/9/2013. See also Reg Item 5313 for a narrower view of this photo. Wal Jack in item 5313 has dated it as 1948 - note added 23/3/2012. see attached notes. On rear in ink "29 - Sturt St. Looking East from Doveton St. (WJ)"trams, tramways, ballarat, sturt st., trams, town hall , tram 32 -
Ballarat Tramway Museum
Ephemera - Ticket/s, Tramway Museum Society of Victoria (TMSV), TMSV tour No. 2, May 6, 1964. - Wal Jack Collection, 1964
... TMSV tour No. 2, May 6, 1964. - Wal Jack Collection ...Tour ticket for TMSV tour No. 2, May 6, 1964. On yellow card, with two end coupons, single sided. No numbers. trams, tramways, tmsv, tickets, tours, melbourne -
Ballarat Tramway Museum
Ephemera - Ticket/s, Sands McDougall Pty Ltd, Nine No. 8c SECV, c1971
... Nine No. 8c SECV ...Yields information about the crews on the last official tram in Ballarat at the time of the closure of the Ballarat System and some of the last tickets sold on the system.Nine No. 8c SECV tickets on block (Nos. A552391 to 99), purchased at time by Albert Isaacs - white paper, green ink with "Electricity makes life easier!" on rear, stapled to heavy cardboard with stubs of previously issued tickets remaining. Signed on both sides. Alan Bradley - advised 2/1996 Herb Knight - driver and Lew Walker - Conductor as crew on "Last Tram" No. 40 ex Sebastopol (official records). Albert Issacs of view that Des Domaschenz was the driver of the last tram. Images of item added 19/10/2013. See also Reg Items 1950, 3464, 6140, 6246, 6977 for other "last tickets" and SEC Ballarat Tramways Staff Photo 1971.On rear "L. Walker No. 54 - 40 years" and on inside of card "Des Domaschenze No. 24 - 19-9-1971"trams, tramways, ballarat, secv, last day, tickets -
Ballarat Tramway Museum
Magazine, State Electricity Commission of Victoria (SECV), "SEC News, No. 386, Nov. 1992", Nov. 1992
... "SEC News, No. 386, Nov. 1992" ...Yields information about the ex SEC tramway employees celebrations for 21 years since the closure of the Ballarat SEC system.Sixteen page magazine - periodical, SEC NEWS containing on p10, a photograph and article, former Ballarat Tramways employees at 21 year celebrations celebrated at the tram depot. Images of magazine added 21/10/2013.trams, tramways, ballarat, employees, btps, secv -
Ballarat Tramway Museum
Photograph - Black & White Photograph/s, Wal Jack, SEC No. 12 in 1930's colours at Gardens Loop, 6/10/1940
... SEC No. 12 in 1930's colours at Gardens Loop ...Black & white photo of SEC No. 12 in 1930's colours at Gardens Loop, in loop facing south. On rear in ink 'T39, Ballarat No. 12, ex Geelong No. 28, at Gardens, Ballarat, 6-10-40'. Kodak photo paper and machine stamp '4928' Set of two almost identical photographs, Photos re-imaged 18/7/2019. See image i2 for rear of photograph. N772 - 120 Negative see image i4 - the better photograph. N1126 - 512 Negative - see image i3 See abovetrams, tramways, gardens, wendouree parade , tram 12 -
Moorabbin Air Museum
Badge (Item) - RSL Badge In Leather Case With Heading Of "FOR MERIT' Owned By C.A.Gregory No 498
... By C.A.Gregory No 498. ... -
Moorabbin Air Museum
Book - WINGS VOL 4 NO 1, 1944
... WINGS VOL 4 NO 1 ... -
Moorabbin Air Museum
Equipment (Item) - Microphone Throat M.T.L No.2 MKII ZA19734 RAF
... Microphone Throat M.T.L No.2 MKII ZA19734 RAF. ... -
Moorabbin Air Museum
Equipment (Item) - Navigational Computor MK III D Ref. No. 6B/180
... Navigational Computor MK III D Ref. No. 6B/180 . ... -
Moorabbin Air Museum
Badge (Item) - Department Of Aircraft Production Visitor Badge No.104
... Department Of Aircraft Production Visitor Badge No.104 ...Badge No.104 -
Moorabbin Air Museum
Uniform (Item) - RAAF Squadron Patch No.486 (Unofficial Patch)
... RAAF Squadron Patch No.486 (Unofficial Patch). ... -
Moorabbin Air Museum
Badge (Item) - RAAF No. 2 AD Unofficial Patch
... RAAF No. 2 AD Unofficial Patch. ... -
Moorabbin Air Museum
Booklet (Item) - information for pilots learning to pass air legislation exam as part of Pilot licence, DCA publication No 5 Air Legislation Commonwealth of Australia
... DCA publication No 5 Air Legislation Commonwealth of ... -
Moorabbin Air Museum
Book - Aircraft Engines, Aircraft Powerplant Handbook. C.A. Technical Manual No.107
... Aircraft Powerplant Handbook. C.A. Technical Manual No.107 ...Technical overview of aircraft engines circa late 1940snon-fictionTechnical overview of aircraft engines circa late 1940saircraft engines circa late 1940s -
Moorabbin Air Museum
Equipment (Item) - Army Air Force Signal Lamp Type C-3A With One Purple Accessory Lens .No Case
... Accessory Lens .No Case. ...Spec No.94-32288-B Part No.4060 240Volts Order No. (535) 43-2618 -
Buninyong & District Historical Society
Photograph - Original Colour Photo, "Wiseman's" Wood Yard, Yendon No. 1 Road, Buninyong, September 1994
... "Wiseman's" Wood Yard, Yendon No. 1 Road, Buninyong ...Rural industryColour phot, "Wiseman's" Wood Yard, Yendon No. 1 Road, Buninyong (near intersection of Yendon No.2 Rd.)landscape, woodyard, mt. buninyong, yendon no.1 rd -
Buninyong & District Historical Society
Photograph - Original Colour Photo, "Wiseman's" Wood Yard, Yendon No. 1 Road, Buninyong, September 1994
... "Wiseman's" Wood Yard, Yendon No. 1 Road, Buninyong ...Rural industryColour phot, "Wiseman's" Wood Yard, Yendon No. 1 Road, Buninyong (near intersection of Yendon No.2 Rd.)landscape, woodyard, mt. buninyong, yendon no.1 rd -
Buninyong & District Historical Society
Photograph - Original B/W Photograph, B&DHS member Clive Brooks, Mount Buninyong, eastern slopes from Yendon No.2 Rd, 9 April 1994
... Mount Buninyong, eastern slopes from Yendon No.2 Rd. ...B/W photo Mount Buninyong, eastern slopes from Yendon No.2 Rd. across fields.landscape, mt. buninyong -
Buninyong & District Historical Society
Photograph - Original Colour Photograph, Buninyong State School No.1270, 1982
... Buninyong State School No.1270 ...Record of Buninyong School in 1980's. Coloured photograph of Buninyong State School No.1270 from below.buninyong, school, -
Ararat Gallery TAMA
Functional object, Sekku no Iwaimono, c. 1900s
... Sekku no Iwaimono ...‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving -
Ararat Gallery TAMA
Functional object, Sekku no Iwaimono, c. 1900s
... Sekku no Iwaimono ...‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving -
Ararat Gallery TAMA
Functional object, Sekku no Iwaimono, c. 1900s
... Sekku no Iwaimono ...‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving -
Ararat Gallery TAMA
Functional object, Doki no Kenjo Chimaki, c. 1900s
... Doki no Kenjo Chimaki ...‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981Here we see a creation of the type whose beauty is said to have astonished the celebrated sixteenth-century tea master Sen no Rikyu. Originally, confections of mochi (steamed and pounded rice) filled with bean jam were wrapped in chigaya, a species of reed, and came to be called chimaki. We are told that a shopkeeper named Kawabata Doki used bamboo leaves to wrap the chimaki he presented to the emperor Gokashiwabara (1464-1526) and that thereafter the use of bamboo leaves for wrapping such confections became predominant. In fact, the bamboo-wrapped chimaki seen here are known as Doki chimaki after the pioneering shopkeeper, and it is small wonder that this product of Kyoto should have an air of refinement and dignity suggestive of the imperial court. The two different flavours of the contents are indicated by exposing either the upper sides or the undersides of the leaves. The cord used to bind the chimaki together is made of rushes, and ceremonial gift cords (mizuhiki) are attached. - Professor Hideyuki Oka, curator.japanese art, japanese packaging, tsutsumi, gift giving -
Ararat Gallery TAMA
Functional object, Doki no Kenjo Chimaki, c. 1900s
... Doki no Kenjo Chimaki ...‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981Here we see a creation of the type whose beauty is said to have astonished the celebrated sixteenth-century tea master Sen no Rikyu. Originally, confections of mochi (steamed and pounded rice) filled with bean jam were wrapped in chigaya, a species of reed, and came to be called chimaki. We are told that a shopkeeper named Kawabata Doki used bamboo leaves to wrap the chimaki he presented to the emperor Gokashiwabara (1464-1526) and that thereafter the use of bamboo leaves for wrapping such confections became predominant. In fact, the bamboo-wrapped chimaki seen here are known as Doki chimaki after the pioneering shopkeeper, and it is small wonder that this product of Kyoto should have an air of refinement and dignity suggestive of the imperial court. The two different flavours of the contents are indicated by exposing either the upper sides or the undersides of the leaves. The cord used to bind the chimaki together is made of rushes, and ceremonial gift cords (mizuhiki) are attached. - Professor Hideyuki Oka, curator.japanese art, japanese packaging, tsutsumi, gift giving -
Ararat Gallery TAMA
Decorative object, Murasaki - no, c. 1900s
... Murasaki - no ...‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving -
Ararat Gallery TAMA
Functional object, Yuzu - no - ame, c. 1900s
... Yuzu - no - ame ...‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving -
Ararat Gallery TAMA
Functional object, Shuotsu no Fukujio - zuke, c. 1900s
... Shuotsu no Fukujio - zuke ...‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving