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matching small tools
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Bendigo Historical Society Inc.Letter - MERLE HALL COLLECTION: ROSALIND PARK CREATIVE VILLAGE BENDIGO PROJECT LETTERS, 1995
MERLE HALL COLLECTION: ROSALIND PARK CREATIVE VILLAGE BENDIGO PROJECT LETTERS Merle Hall Collection: Rosalind Park Creative Village Bendigo Project Letters from Maery Hall (Gabriel). 6 December 1995 To: Merle Hall Arts Bendigo From Maery Hall Content: Outline of what is involved in the design and working of the project. Enclosed are three page of the design outline, one page of tool drawings, three sheets of sketches, photograph of small mosaic sketch using rocks I brought back from my last visit. The letter also contains: Materials, Tools, labour, Other needs, Time, Costs and the Council’s role. 6 November 1995 To: Merle Hall Secretary Arts Bendigo From Maery Hall Content: Contains a rough sketch of the project. Note that the sketch is missing. 29 January 1997 To: Merle Hall Arts Bendigo From Maery Gabriel Content: Contains a drawing for the remaining pavement areas that I submitte before and measurements for the actual slabs for 22 square m. for the two. The result will be 2 (saddle reefs) in style. Also mentioned are two options for payment. Receipts also included for the last two payments and the saw. Thank you for sending the form of transfer for the saw. (Note the drawing is missing) 10 April 1997 To: Merle Hall Arts Bendigo From Maery Gabriel (artist in Mosaic) Content: Thank you for your letter of 9 March and further discussions on costs and layouts. 25 Feb 1997 To: Maery Gabrel, ‘Morningswood’ Pterson’s Road Ellinbank 3821 From Merle Hall Secretary Arts Bendigo Content: Apologies for the delay in not answering last letters and drawings. Mentions the need to meet with the Council to discuss the completion of the project and the need to enquire about funding from the Premier’s ‘community support fund’ 9 March 1997 To: Maery Gabrel From Merle Hall Secretary Arts Bendigo Content: Followup letter from 25 Feb 1997 concerning the last sections of the mosaic project. Outcome of meeting with Bernard Smith of the City of Greater Bendigo One local business sponsor prepared to donate a small amount towards completion of the project P.S. Sharon Hackett; the painter would love to receive her questionare from you. 22 Dec 1996 To: Maery Gabrel From Merle Hall Secretary Arts Bendigo Content: Enclosed is a form to cover transfer of ownership of the diamond saw as reccomended by an adviser. P.S. the transfer is made out to ‘Hall’ - your name under our contracts. I’ve used your name for the address. 20 Dec 1996 To: Maery Gabrel From Merle Hall Secretary Arts Bendigo Content: Arts Bendigo Inc. of P.O. Box 563, Bendigo, 3552, agrees to the transfer of ownership to Maery Hall of ‘Morningswood’, Peterson’s Rd., Ellinbank, 3821 of one ‘Stubbie electric Bricksaw. Purchased from DEMBICON on May 25th 1996 Diamond Blade for $1650, now valued at $1200 Part payment for the contractr of a mosaic pavement around the poppet lookout in Rosalind Park Bendigo. 30 Nov 1995 To: Maery Gabrel From Merle Hall Secretary Arts Bendigo Content: The enclosed survey sketches just arrived. Formal approval from the commissioners. Early next year the poppet head will be re-painted and have scaffolding there for a time, but shouldn’t be a problem. 9 January 1996 To: Maery Gabrel From Merle Hall Secretary Arts Bendigo Content: Summary of discussions with the John Little V.A.C. and Roni Schell from ‘Future Connections’ re her DEET submission and Bernard King from the City and one of the Commisioners. A non-specific plan for being ‘contracted and not employed’ An expectation the ‘Future Connections’ would then offer youseparate contract to conduct workshops for their clients and develop tutorials. 9 November 1995 To: Maery Hall From Merle Hall Secretary Arts Bendigo Content: Sketches enclosed for the poppet head site and comments on them from the City Council. 20 January 1997 From: MaeryGabiel Artist in Mosaic (formerly Maery Hall) To: Merle Hall Secretary Arts Bendigo Content: Receipt of $5000 plus one ‘Stubbie Electric Bricksaw, with stand, serial number 0002056 being payment under contract no. 2 for work on mosaic payments in Bendigo. 20 May 1996 Lisf of Materials and euipmemnt required for Mosaic and tools to be made -
Ararat Gallery TAMAMixed media, Inga Hunter, The Forest People - Three Quivers, 1986-1989
"The Forest People use poison on their darts, and on some of their arrows, to stun or kill small prey. Poison Brewers distil the venom, which is obtained from roots, bark, leaves, and the skin of a certain frog-like creature. Alchemancers distribute the venom to hunters and healers. Poison-impregnated darts are kept in special pouches or quivers, blessed by the Alchemancer or the Guardian with special spells and incantations to prevent accidents and the perversion of the tools by evil spirits. Each of these quivers carries amulets of protection. The quivers themselves, were made by a specially trained craftsman who is able to sing incantations into the actual structures themselves, ensuring double and sometimes treble protection from danger, as well as increased effectiveness, sureness of flight, efficacy of the poison etc. Quivers such as these are kept on the belt, on the side away from the dominant hand, to ensure considered, careful use, and to prevent the wrongful use of poison when a simple arrow would be sufficient." - Inga Hunter -
Arapiles Historical SocietySmall Garden Fork
... garden fork Farm equipment, Hand tool Small Garden Fork ...Farm equipment, Hand toolgarden fork -
Kew Historical Society IncAccessory - Woman's Visiting Card Case, 19th century
Calling cards, also called visiting cards, visiting tickets, or compliments cards, originated in their paper and ink form in France in the 18th century and their popularity quickly spread across Europe and the United Kingdom. Victorian calling cards were large and could be extremely ornate, with the names usually printed instead of handwritten. Women's cards were squarish and fairly large, usually about 2.5 x 3 inches. Men's cards were smaller and more rectangular, meant to fit in a breast pocket, while women often carried their cards in specially made cases of silver, tortoiseshell, ivory, or mother-of-pearl. (Source: Claire Green: Calling Cards and Visiting Cards: A Brief History)Nineteenth century silver, leather and silk woman's visiting card case, donated by M. Swanston MacDowell. The case has a tooled brown leather cover attached to a silver frame. The interior of the card case, used for visiting cards, is lined with maroon silk with brown leather pockets. The pocket on the left is embroidered in silk with a spray of flowers.On one of the interior leather pockets "Kew Historical Society" has been crudely inscribed in biro. A card placed in the item includes the words "Visiting Cards. M. Swanston MacDowell".visiting card case, card cases -
Kew Historical Society IncTool - Mechanical Kits, Automobile Repair Kit, 1940-1959
Small portable car repair kit in metal boxcar repair kits -
Kew Historical Society IncPhotograph - Instructional photograph No.7: Using concrete for street kerbs, Portland Cement Association, 1921
... water, to remove tool marks and small surface irregularities." ... Surface with flat brush, wet with clean water, to remove tool ...One of seven photographs produced by the Portland Cement Association in 1921 showing how concrete kerbs could be created. Portland Cement Association (PCA) was founded in 1916. From 1917, the association actively promoted the benefits of concrete for road works in Australian newspapers. In the nineteenth century in Melbourne (Vic.) 'made roads' typically had gutters and kerbing lined with bluestone.The photographs are important evidence of the availability of instructional models for the use of concrete in street works in Victoria. While the photographs date from the early 1920s, the use of concrete for kerbing did not reach its maturity until after World War 2. The photos demonstrate knowledge about and the use of concrete in street works in a major Melbourne municipality at an early period.Black and white photograph with printed instructions on the reverse showing the production of concrete kerbing on 67th Street, West Allis, Milwaukee, Wisconsin (USA). The photograph was produced by the Portland Cement Association of Chicago in 1921 and used within the Chief Engineer's Department of the City of Kew (Vic.)."7th - Brushing Surface with flat brush, wet with clean water, to remove tool marks and small surface irregularities." street works, kerbing, gutters, concrete, portland cement association -
Friends of WestgarthtownHook, bag
... tool Small instrument for hanging and moving bags, bifurcated ...One of the original bag hooks used on the farm at Ziebell’sHessian bags were used pre 1970 and bag hooks were used to lift heavy bags of wheat, and milled grains such as bran and pollardSmall instrument for hanging and moving bags, bifurcated hook with wood handlerural industry, agriculture, hook, farming, transportation, tool -
Glen Eira City Council History and Heritage CollectionBooklet - Illuminated Address, City of Caulfield, "To James Ross Briggs, Esq.", c. 1954
Illuminated address received by James Ross Briggs Esq. on the occassion of his retirement as Town Clerk and Treasurer by the Mayor, Councillors and Citizens of the City of Caulfield. 2 page watercolour and ink address bound in maroon and gold tooled leather folder, The address, presented on cream colour card, is secured inside the folder by a piece of maroon colour rope ribbon and strip of leather running vertically down the centre. The address is hand lettered in red and black ink and watercolour decorations include James Ross Briggs name in a scroll surrounded by sprigs of yellow wattle and a blue, pink and yellow decorative border. A red, paper seal has been placed beside the signatures of the Mayor, Town Clerk and Councillors. Hand lettered signatures at bottom of page include the Mayor, Town Clerk and 10 Councillors Hand written on small yellow "Post-It" note on inside of back cover: "DONATION FROM (details)"james ross briggs, city of caulfield, town clerk, treasurer -
8th/13th Victorian Mounted Rifles Regimental CollectionTool - Horse feed measure
Clever way of explaining the daily feeding of a horse.Wooden board with two containers showing measures of horse feed.HORSE FEED / Typical feed for 15 hand horse / large tin holds one pound (450g) of / chaff. Small tin holds one pound (450g) / of oats. / Horses were fed at 8 a.m., 5 p.m. and / 8 p.m. At 6 a.m., 3 p.m.and 10 p.m. horses were fed 1&1/2 pounds (680g) / of hay.military, horse, feed, measure -
Hand Tool Preservation Association of Australia Inc
Vice
This item is part of the Thomas Caine Tool Collection, owned by The National Trust of Australia (Victoria) and curated by the Hand Tools Preservation Association of Australia.vice, pin, small -
Hand Tool Preservation Association of Australia Inc
Photograph
This item is part of the Thomas Caine Tool Collection, owned by The National Trust of Australia (Victoria) and curated by the Hand Tools Preservation Association of Australia.Photo small boat and crew -
Hand Tool Preservation Association of Australia Inc
Nave
This item is part of the Thomas Caine Tool Collection, owned by The National Trust of Australia (Victoria) and curated by the Hand Tools Preservation Association of Australia.nave - hub, small, 2 of 2 -
Hand Tool Preservation Association of Australia Inc
Square
This item is part of the Thomas Caine Tool Collection, owned by The National Trust of Australia (Victoria) and curated by the Hand Tools Preservation Association of Australia.square, small T metal -
Hand Tool Preservation Association of Australia Inc
Compass
This item is part of the Thomas Caine Tool Collection, owned by The National Trust of Australia (Victoria) and curated by the Hand Tools Preservation Association of Australia.compass, set, 3 off,plated, small -
Hand Tool Preservation Association of Australia Inc
Compass
This item is part of the Thomas Caine Tool Collection, owned by The National Trust of Australia (Victoria) and curated by the Hand Tools Preservation Association of Australia.compass, plated, small scriber -
Hand Tool Preservation Association of Australia Inc
Compass
This item is part of the Thomas Caine Tool Collection, owned by The National Trust of Australia (Victoria) and curated by the Hand Tools Preservation Association of Australia.compass, plated, small pencil holder -
Hand Tool Preservation Association of Australia Inc
Compass
This item is part of the Thomas Caine Tool Collection, owned by The National Trust of Australia (Victoria) and curated by the Hand Tools Preservation Association of Australia.compass, plated, dip pen, small -
Hand Tool Preservation Association of Australia Inc
Trowel
This item is part of the Thomas Caine Tool Collection, owned by The National Trust of Australia (Victoria) and curated by the Hand Tools Preservation Association of Australia.trowel, small square edged -
Hand Tool Preservation Association of Australia Inc
Ring
This item is part of the Thomas Caine Tool Collection, owned by The National Trust of Australia (Victoria) and curated by the Hand Tools Preservation Association of Australia.ring, small-fine, gold ? -
Hand Tool Preservation Association of Australia Inc
Bellows
This item is part of the Thomas Caine Tool Collection, owned by The National Trust of Australia (Victoria) and curated by the Hand Tools Preservation Association of Australia.bellows, small -
Hand Tool Preservation Association of Australia Inc
Drill
This item is part of the Thomas Caine Tool Collection, owned by The National Trust of Australia (Victoria) and curated by the Hand Tools Preservation Association of Australia.drill, press, small -
Hand Tool Preservation Association of Australia Inc
Vice
This item is part of the Thomas Caine Tool Collection, owned by The National Trust of Australia (Victoria) and curated by the Hand Tools Preservation Association of Australia.vice, small, bench clamp mounting -
Hand Tool Preservation Association of Australia Inc
Wrench
This item is part of the Thomas Caine Tool Collection, owned by The National Trust of Australia (Victoria) and curated by the Hand Tools Preservation Association of Australia.wrench, tap, small -
Hand Tool Preservation Association of Australia Inc
Propeller
This item is part of the Thomas Caine Tool Collection, owned by The National Trust of Australia (Victoria) and curated by the Hand Tools Preservation Association of Australia.propeller, launch, small -
Hand Tool Preservation Association of Australia Inc
Boiler
This item is part of the Thomas Caine Tool Collection, owned by The National Trust of Australia (Victoria) and curated by the Hand Tools Preservation Association of Australia.boiler, small -
Hand Tool Preservation Association of Australia Inc
Taps
This item is part of the Thomas Caine Tool Collection, owned by The National Trust of Australia (Victoria) and curated by the Hand Tools Preservation Association of Australia.taps and dies, box of, small -
Hand Tool Preservation Association of Australia Inc
Sand stone wheel
This item is part of the Thomas Caine Tool Collection, owned by The National Trust of Australia (Victoria) and curated by the Hand Tools Preservation Association of Australia.sand stone wheel, small -
Clunes MuseumTool - KNIFE, SMALL PARING
... SMALL PARING Tool KNIFE ...Short curved blade knife with bone type handleNilknife, cutting tool -
National Wool MuseumFunctional object - Yarn Spinner and Accessories, John Nesbitt, 19th Century
Nino Corda was a Geelong based textile designer who worked at various textile mills between 1957 & 2003. He travelled the world in search of the latest fashions and techniques and developed timeless designs that were much loved by Australians. These items are on rotational display at the National Wool Museum’s ‘In the Factory’ exhibition. For many years, Nino also worked as part of the Honorary Staff of the National Wool Museum. His passion for the world of textiles provided energy and knowledge to the visitors and staff of the museum. Although Nino has now retired from his honorary position and has hung up his Australian Tartan vest, these items will continue to serve the community in sharing the stories of Australian Textile design.Custom made wooden hinged box with a hook latch. Brass yarn spinner, attached to a mahogany wood plinth base, which spins fibre into cord/yarn/thread. It has dials to set the rate that it spins. Metal plaque with black inlaid enamel lettering. Small cork inlay. Brass rod with hinge and wingnut, and ball at end. Ball at end has an adjustment mechanism. Rod also has an adjustable circular collar. Pair of curved tweezers. Circular magnifying glass on long thin handle. Glass has two concave lenses. Weaving sample in shades of blue, green and brown. Twill weave. Alternate pattern samples separated by red thread.Brass plaque on base of spinner: 42 MARKET St / John Nesbitt / REGd TRADE MARK / LIMd / MANCHESTER Underside of wooden plinth: 4976apparatus, textile, testing, spinning, nino corda, magnifyer, tools, brass, mahogany, tweezers, yarn, spinner, design, john nesbitt, manchester, england, 19th century, engineering, manufacturing -
National Wool MuseumTool - Glasses, c.1950
Nino Corda was a Geelong based textile designer who worked at various textile mills between 1957 & 2003. He travelled the world in search of the latest fashions and techniques and developed timeless designs that were much loved by Australians. These items are on rotational display at the National Wool Museum’s ‘In the Factory’ exhibition. For many years, Nino also worked as part of the Honorary Staff of the National Wool Museum. His passion for the world of textiles provided energy and knowledge to the visitors and staff of the museum. Although Nino has now retired from his honorary position and has hung up his Australian Tartan vest, these items will continue to serve the community in sharing the stories of Australian Textile design. Textile designers used glasses such as these to see how many threads are within a textile sample. It was important to count correctly, otherwise the enlarged final pattern would be out of alignment. These glasses were popular in the 1950s but were replaced by viewing lens, such as item 8040 (in the National Wool Museum's Collection) in the 1960s because of their compact nature.Thin metal wire makes up the frame of the glasses. The metal is a standard metallic silver. The piece to sit on-top of the ear is excessively curved to hook around the ear. This is done to ensure the glasses do not fall off the face while looking down to view thread counts in a textile sample. The glasses are lacking lenses in their usual place. This has been replaced by another thin wire frame which protrudes an extra inch in front of the frame, almost like an additional layer of the glasses. Where this layer / frame ends, two lenses can be found which are square and much smaller than typical glasses lenses. This has been done to allow for powerful magnifying glass which would be ill-suited if it sat too close to the face / eyes. The glasses are also accompanied by their original box. The box is blue and has a large rectangle running through its centre. This rectangle works as a cushion for the glasses and is required as a result of their unusual shape.textile design, textile calculations
