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Bendigo Historical Society Inc.
Document - DRAINAGE PROBLEMS - NEW CHUM MINES THE DRAINAGE QUESTION
Handwritten extract from the Bendigo Advertiser Jan 2nd 1911. ''In absence of Mr McBride, Minister for Mines in the country, officers of the Mines Department were inclined to-day to say much about unwatering the deep Bendigo mines, which is again a pressing problem. Owing to the breaking of the steel wire rope at the victoria Quartz mine, the trouble was intensified. An arrangement had been made by which the companies affected along the line should contribute, but two of the companies, it is stated, suspended operations. A scheme has been placed by Mr Stanfield before the parties interested, and the officers of the Mines Department expressed the hope that for the sake of the future of deep mining, some arrangement should be come to. Unless the companies show a disposition to help themselves substantially, the officers do not think it likely that the Government will co-operate. There are, it was added certain provisions of the Mines Act, and covenants in leases can be enforced, but there is no desire to compel the companies which have carried on in the face of great difficulties, to do anything reasonable.'' Albert Richardson Mining History Collectiongold, drainage problems, drainage problems, new chum mines the drainage question, bendigo advertiser 2/1/1911, mr mcbride, mines department, victoria quartz mine, mr stanfield, mines act, albert richardson. -
Williamstown Botanic Gardens- Hobsons Bay City Council
Photos - Cannons, 1970
The Armstrong Cannons were originally placed at Fort Gellibrand, located at the southernmost tip of the Williamstown peninsula. The Fort was developed during the 1850s as part of a defensive system for the city and port of Melbourne. The importance of the Fort batteries declined from the 1890s, when they were effectively replaced by new facilities at Queenscliff and Point Nepean, but they were still used for gunnery practice. Local residents, through the Williamstown Town Council, complained to the Acting Minister for Defence that the concussion from the guns damaged windows, walls and foundations of buildings. The Armstrong Cannons were moved from Fort Gellibrand to the Gardens in 1906. A primary source of evidence of the cannons being in the Gardens. The cannons are remembered fondly as play equipment for the local children. Many tales have been told of climbing over them and pretending to be shot out of them A collection of seven black and white photographs documenting the removal of the cannons from the Gardens Photo 1 (a) Black and white landscape image. View is looking through the main gates looking at the front of the truck, which has the name Walter Wright across the front bumper, the crane and canon. The gates and fence are painted a light colour, probably white. Photo 2 (b) Black and white landscape image. Back of loader with cannon on it. Man standing on top of the cannon bending over either tying or untying ropes. Trunk of a palm tree is on the left side of the photo with a top of a palm tree in the background. Photo 3 (c) Black and portrait white image. A cannon being loaded by the crane on to trailer. Palm tree is in the background and fronds from a palm tree can be seen in the right top corner. Photo 4 (d) Black and white landscape image. Side on view of a cannon on the truck parked outside the grounds of the Gardens. The logo of the name of the trucking company is on the door of the truck above the words ‘WALTER H WRIGHT / TRANSPORT PTY LTD / S SCHULZ ST WEST MELB’. A second cannon can be seen in the background. A bus is in the background on the middle right side of the image. Photo 5 (e) Black and white landscape image. Truck with cannon on the back leaving the ground of the Gardens. Tree on the right side of the image and power pole is behind the truck. The logo of the name of the trucking company is on the door of the truck above the words ‘WALTER H WRIGHT / TRANSPORT PTY LTD / S SCHULZ ST WEST MELB’. ‘WALTER WRIGHT’ is on the front bumper Photo 6 (f) Black and white landscape image. Cannon tied down on the back of the truck as it is being driven across the street. Three houses in the background and two cars, one is a Volkswagen Photo 7 (g) Black and white landscape image. Cannon on the back of the truck which is parked over the street from the Gardens. Three houses are in the background. Two trees bare of leaves. The front of a car in in the foreground – it has a sun visor and the steering wheel is a light colour.armstrong cannons, williamstown botanic gardens, hobsons bay city council, 1970, walter h wright / transport pty ltd -
Eltham District Historical Society Inc
Photograph, VR Commissioner's Special train, steam locomotive D3-639 crossing the Echuca-Moama Road Rail Bridge over the Murray River from Moama, NSW to Echuca, Victoria, 1962
VR Commissioner's Special train, steam locomotive D3-639 crossing the Echuca-Moama Road Rail Bridge over the Murray River from Moama, NSW to Echuca, Victoria. Commissioner Edgar Henry Brownbill on footplate, 1962. Commissioner Edgar Henry Brownbill was in office 1957 to 1967. George Coop advises - "The train on the Eltham/Moama bridge is actually the Commissioner’s Special on one of its inspection tours of the VR rail system. This was a very grand special train with accommodation for the Commissioner and staff in carriages also used once for the Royal Train and other State purposes. You can just see the Commissioner of the day, dressed in his suit and wearing engine drivers gloves, standing in the loco cab doorway. A good ‘hands on’ impression is created amongst local staff if can be seen that the boss is no ‘desk jockjey’. The observation car on the back was originally made for the ’Spirit of Progress’. I climbed up onto the bridge iron plate work to get this view. It was safe enough as the cantilevered pedestrian walkway was still on the east side at the time." "I was resident in Echuca from Jan. ’59 to approx. May ’64. At that time the single Echuca/Moama bridge was a combined road/rail bridge. The rail gauge was 5’3” and still is, I believe, on the new bridge that sits just upstream of the old one. This rail line into NSW has always been 5’3" gauge because it has no connection with any NSW tracks. The old Echuca/Moama bridge, locally called the ‘Iron Bridge’ has, over years, undergone some structural changes. The two lattice iron hoops arcing over the roadway have been raised and lowered and changed design. Presently a pedestrian walkway is cantilevered off the west (or downstream) side of the bridge. It used to be on the eastern side. Guess changes went in when new rail bridge only was built on the eastern side as well." Image dated as c.1963 based on same image in Port of Echuca collection (possibly frame 32 of film) (print 19.5 x 24.5cm) On reverse in pencil: "Brown card" in black pen: "Commissioners special. F. Brown on Footplate. George C.L. Coop c1963". https://victoriancollections.net.au/items/59d575b921ea6e1278d78042 However based on frame no. 10, date set as 1962Digital TIFF file Scan of 35mm Ilford FP3 black and white negative transparencyd3-639, d3-class steam locomotive, echuca-moama road rail bridge, edgar henry brownbill, george coop collection, murray river, vr commissioner's special train -
Flagstaff Hill Maritime Museum and Village
Domestic object - Pudding Mould
One of the first documented mentions of pudding can be found in Homer's Odyssey where a blood pudding roasted in a pig's stomach is described. This original meaning of a pudding as a sausage is retained in black pudding, which is a blood sausage originating in the United Kingdom and Ireland made from pork or beef blood, with pork fat or beef suet, and a cereal. Another early documented recipe for pudding is a reference to asida, found in a tenth century Arabic cookbook by Ibn Sayyar al-Warraq called Kitab al-Ṭabīḫ (Arabic: كتاب الطبيخ, The Book of Dishes). It was described as a thick pudding of dates cooked with clarified butter (samn). A recipe for asida was also mentioned in an anonymous Hispano-Muslim cookbook dating to the 13th century. In the 13th and 14th centuries, in the mountainous region of the Rif along the Mediterranean coast of Morocco, flour made from lightly grilled barley was used in place of wheat flour. A recipe for asida that adds argan seed oil was documented by Leo Africanus (c. 1465–1550), the Arab explorer known as Hasan al-Wazan in the Arab world. According to the French scholar Maxime Rodinson, asida were typical foods among the Bedouin of pre-Islamic and, probably, later times. In the United Kingdom and some of the Commonwealth countries, the word pudding can be used to describe both sweet and savoury dishes. Unless qualified, however, the term in everyday usage typically denotes a dessert; in the United Kingdom, pudding is used as a synonym for a dessert course. Puddings had their 'real heyday...', according to food historian Annie Gray, '...from the seventeenth century onward'. It is argued that 'the future of the boiled suet pudding as one of England's national dishes was assured only when the pudding cloth came into use' and although puddings boiled in cloths may have been mentioned in the medieval era, one of the earliest mentions is in 1617 in a recipe for Cambridge pudding, a pudding cloth is indicated; 'throw your pudding in, being tied in a fair cloth; when it is boiled enough, cut it in the midst, and so serve it in'. The pudding cloth is said, according to food historian C. Anne Wilson, to have revolutionised puddings. 'The invention of the pudding-cloth or bag finally severed the link between puddings and animal guts. Puddings could now be made at any time, and they became a regular part of the daily fare of almost all classes. Recipes for them proliferated.' https://en.wikipedia.org/wiki/PuddingPuddings and pudding making have evolved over the years, and continue to do so. White ceramic pudding bowl with fluted decoration on the outside.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, puddings, ceramics -
Flagstaff Hill Maritime Museum and Village
Tatting Shuttle
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. The second type has a post in the center where the thread is wound. 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.Tatting Shuttle, Ivoryflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, tatting shuttle, handcraft, needlework -
Flagstaff Hill Maritime Museum and Village
Tatting Shuttle
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. The second type has a post in the center where the thread is wound. 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.Tatting Shuttle, Black plastic, "ARCHER" inscribed. "ARCHER" inscribed.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, tatting shuttle, handcraft, needlework -
Flagstaff Hill Maritime Museum and Village
Tatting Shuttle
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. The second type has a post in the center where the thread is wound. 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.Tatting Shuttle, tortoise-shellflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, tatting shuttle, handcraft, needlework -
Flagstaff Hill Maritime Museum and Village
Tatting Shuttle
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. The second type has a post in the center where the thread is wound. 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.Tatting Shuttle, ivory, flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, tatting shuttle, handcraft, needlework -
Flagstaff Hill Maritime Museum and Village
Tatting Shuttle
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. The second type has a post in the center where the thread is wound. 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.Tatting Shuttle, black plastic flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, tatting shuttle, handcraft, needlework -
Flagstaff Hill Maritime Museum and Village
Functional object - Serving Mallet, Unknown
A serving mallet is a tool to worm, parcel and serve a line and is to apply to the standing rigging multi-layered protection against chafe and deterioration. It is a technique not usually used on modern small boats but is found extensively on traditionally-rigged sailing ships. Worming, parcelling and serving —referred to collectively as "service"— is traditionally applied only to traditional twisted rope, either natural fibre or steel wire-rope, not the braided line almost exclusively used on modern vessels today. Parcelling means wrapping a rope line in a spiral fashion with long overlapping strips of thin canvas. This is wound from bottom to top, the edge of the progressing strip slightly overlapping the previous wrap to create a shingled effect, to prevent water from entering. Often the strips of the canvas are either saturated with Stockholm tar as they are applied, or painted with tar after the parcelling is complete, immediately before the process of serving. A serving provides an outer layer of protection and is formed by wrapping twine as tightly as possible around the line, each progressive turn of the twine laid as close as possible against the last, covering the rope completely. Following the rhyme above, it should have course run against the lay of the rope; this alternation helps prevent sideways chafe from opening up the protection. Traditionally hemp "marline" was and still is used for servicing on modern small craft with three-strand nylon "seine twine" often used. A serving board or serving mallet can be used to help get the outer twine as tight as possible. Despite the name (arising from its shape) the serving mallet is not used to hit anything, it forms a kind of guide and tensioning lever for applying the twine to the rope. An optional final stage for the permanent protection of "served" rope is to paint the outer layer of twine with a mixture of tar, varnish and black paint. This needs renewing periodically, and going aloft to paint foot ropes, shrouds, stays, and other served rigging is one of the regular maintenance tasks on many tall ships. The tar or "slush" is a mixture of Stockholm tar, boiled linseed oil, and Japan drier. Many "recipes" for slush exist, but the intent is always to allow a penetrating coat of preservative pine tar that then cures to a harder finish that will not so easily rub off on sails and crew. The term "slush" is also used to describe the grease applied to the masts to lubricate the “parallels” so that the yards can raise and lower freely.A tool used by sailors on board sailing ships as an aid in the preservation of ships rigging ropes by wrapping the rope in tar soaked canvas and covering the canvas by wrapping twine along the length of the rope. An item that is significant in that it tells a story of what sailors working lives were like onboard the early sailing ships and how these early vessels were maintained and sailed. Serving Mallet, used in Worming, Parcelling and Serving of rope - cylindrical handle with grooved wooden section attached. Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village -
Ruyton Girls' School
Photograph, Ruyton Girls' School, 1951
Depicted are nine Ruyton Girls' School prefects for the 1951 school year. The image is a formal school portrait taken outdoors on school grounds outside of Henty House (formerly Tarring). In the background, we can see three bicycles with cane baskets. The students are all dressed in knee-length check skirts, a dark jumper, light-coloured collared button-up blouse with a dark tie, wool blazers, and dark coloured shoes. Four girls are standing in the back row, and five are positioned in the front row. Students in the back row have been identified from left to right as M. Murray, B. Addison, T. Abson and H. Cole; in the front row, from left to right we can see S. Backhouse, J. Wigg (Vice Captain), F. Jacobs (Captain), E. Duff, and A. Dickinson. The same photograph appears in the Ruytonian 1951. Student leadership commenced at Ruyton Girls' School in 1906 with the introduction of the prefect system. Prefects had numerous responsibilities—gate duty, grounds duty, classroom marking, assembly door watch, uniform monitoring, and even supervising student detention. In 1947, a dedicated Prefects Room was erected on the east side of the Ruyton Girls' School Assembly Room in Henty House. The prefects system was revised in 1968 with a new leadership structure: there would be a permanent School Captain, Vice Captain and School Sports Captain; six permanent prefects would be elected, and the rest of the Matriculation class would form committees. These included Library, Social Services, S.C.M., Editorial, and Music. In this way, it was thought "that each Matric girl would have a certain amount of responsibility." With this revised structure came a brand new Prefects' Study, located in a former classroom next to the Domestic Science building. Each prefect was allocated one book locker, one clothing locker, "a small share in the heater", plus a new shared lounge. The prefect system was updated again in 1974. All sixth formers would become prefects, or "school officials." This saw the sixth form divided into two halves: one group would be prefects for the first half of the year, then the second group would take the reigns in the latter half of the year. In October 2023, Ruyton announced a new collaborative leadership structure for captains, prefects and house leaders, which would see two students in each leadership role.The record has strong historic significance as it depicts a former notable student, Helen Gordon (maiden name Cole), pictured third from the right in the front row. Helen started at Little Ruyton in Prep 1940 and finished Year 12 in 1952 as School Captain, Bromby Captain, Form Captain for Matric, Tennis Captain, Hockey Captain, Swimming Vice Captain, and an award for Best All-Round Girl. She also played baseball for Victoria. After finishing school, Helen went on to graduate from the University of Melbourne as a physiotherapist in 1956. Her first position at age 19 involved setting up clinics with the Victorian Health Department Poliomyelitis Rural division. Helen’s strong ties to Ruyton continued when she held the position of President of the Old Ruytonians’ Association from the start of 1966 to the end of 1967. In 2019, Helen received an Order of Australia Medal for service to community health as a physiotherapist. She was also the recipient of the 2022 Victorian Senior Achiever Award at Parliament House. Helen passed away in July 2023 at age 88. The record's significance is further enhanced by its strong provenance, having been produced by Ruyton Girls' School and donated to the Archives by a familial connection.Black and white rectangular photograph printed on matte photographic paper.Reverse: Felicity Jacobs / Judi Olsen / Ann Dickinson / Bev. Addison / RGS011/1951/0004 /ruyton girls' school, ruyton, students, school, senior school, girls school, kew, melbourne, school uniform, prefects, photograph, henry henty, henty house, marion henty, tarring -
Melbourne Legacy
Document, Why I founded the Somers Camp, 1933
A typed reprint of an article that appeared in The Herald. It is an account of the founding of Somers Camp by Lord Somers. The camp began in 1921 when the Duke of York started a summer camp for boys at Littlestone Aerodrome in England. It was an experiment in bringing together boys from different walks of life to encourage understanding and mutual appreciation of each other. While Lord Somers was Governor of Victoria he started a similar camp here with equal success. Part of the text: "Our aim is to change and improve the mental attitude of the boys to each other — to beget a state of mind in which the two sets merge in each other. As the period of the Camp is short — only one week — every effort is made to give the boys full scope for recreation and play. We do not wish to give them a busman's holiday and saddle them with numerous domestic duties, and so they are free of nearly all these, and can devote the whole of their time to themselves. We wish, too, to give them absolute freedom, with as little hampering discipline as possible, and so long as the simple rules of the Camp, such as punctuality at meals and so on are observed, they can do what they like. The Group Leaders take charge of the organised sports, and as each group is composed of boys from both school and workshop, unity is preserved. Superficial differences in worldly pros perity vanish at the Camp; you can't tell one from t'other; a feeling of comradeship in a common life manifests itself; a spirit of loyalty to each other, and to the ideals behind the camp quickly emerges; artificial barriers tumble down, and we are all one, That, in brief, is the spirit of the Camp. But, of course, that is not the beginning and end of it, for if it were, the benefit would be merely temporary, and the effects would pass off. And so I come to the other and, to my mind, the more important function of the movement which finds expression in what we call the Power House. The Power House is a continuation of the Camp. Every boy who attends the Camp becomes automatically a member of the Power House. The Camp is the Open Sesame to the Power House, and whereas in the Camp the boy has merely enjoyed himself, when he graduates to the Power House he begins to imbibe the spirit of service and to learn that he has responsibilities, both to himself and to others. The Power House has already taken concrete form in the shape of a building in the Albert Park which constitutes a sort of headquarters."A record of the camp at Somers in the words of the founder.Foolscap page x 2 of black type of an article in the HeraldHandwritten 'JL11/10' in black pen, 'Lord Somers and Power House' in blue pen.camp, lord somers camp, lord somers -
Bendigo Military Museum
Photograph - PHOTOGRAPH, GALLIPOLI, cWW1
Original owner - Stephen John PARISH Regiment number/ Unit 703, Enlisted 19-08-14 F.COY 8th Battalion Became an officer 2nd Lieutenant in 1st Machine Gun Battalion RTA 17-03-1919 See also Cat No. 5979.6.Original photograph - black and white on photographic paper. Scene depicts landing boats, beach scene, an encampment with tents and small buildings with background of ridges. Handwritten greeting and information on back of photograph. Panorama photograph.Handwritten in faded black ink - back of photograph "Clevedon/ 3/7/18/ Just a picture of Gallipoli/ if you show it to any of/ the boys that have been/ there they will explain it/ better than I can by writing/ best love/ Ste ? xx" Handwritten in mainly uppercase letters, blue ink. Left to Right - " MOST OF OUR/ SUPPLIES WERE/ LANDED HERE" " THE LAST OF/ THE AIF LEFT/ HERE 29-12-1915" " 1ST AIF DIVISION/ LANDID (sic) HERE/ 25-4-1915" " THIS PERE WAS/ RECKED (sic) SEVERAL/ TIMES BY STORMS" " 1ST AIF/ HOSPITAL TENTS " TURKS BEACHIE (sic) / FIRED SCHRAPNIL/ ALONG BEACH/ FROM HEARE (sic)" " 4th INF BGDE/ Faught (sic) have/ on 9-5-1915" . "photographs, ww1, gallipoli, s. j. parish, 8th battalion -
Eltham District Historical Society Inc
Photograph, Sugarloaf Reservoir, Christmas Hills, 16 January 2015, 16 January 2015
Sugarloaf Reservoir is situated on former farmland. This large water storage was completed in 1982 and serves Melbourne's northern suburbs. Within the visitor areas are two picnic grounds and other recreational facilities. Below its massive rock embankment is located the Winnecke Treatment Plan designed to purify its water before being piped into Melbourne. The dam partly inundated the old firing ranges of the former Christmas Hills Rifle Club. Source: Christmas Hills Now and then: Yarra Glen & District Historical Society, 2004. Born DigitalMelbourne Water Sugarload reservoir Melboure Water is owned by the Victorian Government. We manage Melbourne's water supply catchments, remove and treat most of Melbourne's sewrage, and manage waterways and major drainage systems. Most of Melbourne's water comes from uninhabited, forested catchments. Melbourne is one of the few cities in the world that has protecyed water supply catchments. Melbourne Water manages these catchments to protect our drinking water. Our water is safe and pleasant to drink, and undergoes minimal treatment - it is better to start witht he highest quality source. A key part of Melbourne Water's responsibility is to encourage the sustainable use of this precious resource. For more inforamtio on our water supply and on how you can conserve water, call 131 722 or visit www.melbournewater.com.auchristmas hills, sugarloaf reservoir, sign, melbourne water -
Federation University Historical Collection
Correspondence, John Gray, Letter of Condolence from ANA to John Mateer. 1883, 14/12/1883
The Australian Natives Association (ANA) Benefit Society was formed in 1871 at a meeting of young men in Grimwood's Hotel, Elizabeth Street, Melbourne. The Association was one of many friendly societies that also aimed to promote the moral, social and intellectual advancement of its members. The young founders restricted membership to native-born Australians, but there were no Koories among them. The Australian Natives Association Ballarat Branch (No4) was founded in 1874. The association’s modest building was based in Camp Street and the branch was one of the most active in the colony, playing a key role in Federation. The Ballarat branch of the ANA was wound up in 1957 and the double storey building has since been used as for office space most recently for employment companies such as Tracey Recruitment. Ballarat's ANA Hall has heritage status under the City of Ballarat’s Camp Street heritage overlay HO186, however it is not listed by either the Victorian Heritage Register or the National Trust.Handwritten letter glued onto a lined page. The letter is from the Australian Natives Association Ballarat Branch No. 4, and is written to John Mateer at the time of his wife's death. The letter is signed by John Gray (President) and Fred Wainwright (secretary). Fred Wainwright was the first secretary of ANA branch No. 4. hew as a clerk at Ballarat Town Hall, and presented an essay on Federation of Australian Colonies in 1879.Australian Natives Association Ballaarat Branch No 4 14th December 1883. Dear Sir The members of this branch of the A.N.A. desire us to convey to you expression of their deep sympanth with you in the irreparable loss you have sustained by the death of your dearly beloved wife. The Members are fully aware that during the first month of such an overpowering infliction the most sincere sympathy of the truest friends can do little by alleviate the bitter pangs of remembrance and sorrow, still they trust that you may be enabled to submit with christian calmness and fortitude to the Will of Him, who, when seeming to act most severely wit us, is in His Own Divine Wisdom, ordering things for the best. We are Dear Sir Yours fraternally John Gray President fred Wainwright Secretary To Mr John Mateer australian natives' association, ana, ballarat branch no. 4. ballaarat branch no. 4, gray, john gray, wainwright, fred wainwright, mateer, john mateer -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Equipment - Selley's Waterproof Glue, Selley's Chemical Manufacturing Co. Pty Ltd, 20thC
Selley's is an Australian company which produces household 'do it yourself' and cleaning products. Martin Selley, who fled Germany in 1939, prior to the start of WWII, established the Selleys Chemical Company - selling wood putty.Selley's is an Australian company which produces household 'do it yourself' and cleaning products that were used by residents of City of Moorabbin in 20thC3 oz Glass bottle with screw on metal lid, painted blue - with a blue and white labelFRONT: Selley's Waterproof glue - (Clear) Manufactured by Selley's Chemical Manufacturing Co. Pty Ltd - SYDNEY - MELBOURNE 3 ozs. Net. BACK: Instructions for use. Selley's Waterproof Glue is a unique material which can be used for almost any type of joint. When used for wood to wood it gives excellent results, comparing favourably with all other types of wood glues, but in addition has the advantage that it is applied cold, and further, when set, is completely water-proof. It does not require any catalyst or hardening agent to set, but dries by evaporation of the solvent, leaving a tough, hard film. The glue contains thinners. Do not use near a naked flame, but after it has dried it is no more inflammable than dry timber. If glue too stiff, add acetone. glue, selley's, waterproof glue, bottle -
Dutch Australian Heritage Centre Victoria
Puzzle Game, Mixed Up, Probably 1970s
Example of children's pastimes before the age of TV. Dutch families tended to play boardgames during the long winter nights.It was brought to Australia to continue old customsRectangular white box with black lid on which information is printed in orange. Inside box is a plastic moulded container holding the various puzzle pieces. Puzzle pieces are made from variety of materials including metal, wood and possibly plastic Some items are missing judging by the diagrams.Seven language on top of box all saying "play it anywhere". Images of the various puzzles. The manufacturer logo and name (Jumbo) all featured prominently on side of lid. "Made in Holland by Jumbo, Hausemann & Hoette nv Amsterdam" Has recommended play age of 8 and higher. On sides of lid feature multi-coloured title of the game. Price tag on side of lid shows value of 9.75 The box features on all sides puzzle piece diagrams and also the statement "that the solution can be found in the box" in Dutch, English, German & French. (No solution documentation found in box) On the bottom of the box is another manufacturer's logo (JUMBO) surrounding by the words Spellen-Jeux, Games-Spel, Giochi-Juegos", Spiele-Spil Also repeats Made in Holland family, games, children, pastimes -
Wangaratta High School
WWI Postcard, 15/16/1917
William Thomas Jarrot was a former teacher at Wangaratta high School, who went missing in active service on 7th June 1917. The William family preserved this letter, unopened and unread for exactly 100 years. Written by Jarrot to his sister from the battlefront of Belgium, it was opened and read by the Wangaratta High School Prefect team on the 7th of June 2017.Wooden Australia-shaped frame around an embroidered postcard reading 'Sonoenic de France'. Embroidered flap contains a small card which says 'Thinking of you'. On the reverse side of the postcard is a handwritten letter by William Jarrot in 1917.Sonoenic de France Thinking of you My Dear Sister I received your welcome letter a couple dated June 15. I am quite alright and going up the line again pretty soon. I have received both registered letters alright. We are having great success lately but he is fighting hard in places. Robbie told me about his father having an operation. The weather is extremely mild here now. I haven't had a letter from Annie for some time now. i don't know whether I can get this posted now or not. Hoping this finds you all as well as it leaves me at present. With best love to all. From your loving brother. -
Kew Historical Society Inc
Medal, Bicentennial Memento for School Students, c.1988
Illustrated presentation folder including design and text. Bi-fold four page card. Silver coloured metal medal. Obverse depicts in low relief a large group of students ascending stairs towards the Southern Cross. Titled at foot 'Education". FRONT COVER: "Bicentennial Memento for School Students" / INNER PAGES: "The Australian Bicentennial authority has produced this memento, for distribution to all school students in 1988, to commemorate our Bicentenary ~ "Designers: Medal Obverse: M. Meszaros | Medal Reverse: M. Tracey | Folder: Concept Studios Pty Ltd. / BACK COVER: "During 1988 we commemorate 200 years of Australia's history in the modern world and will be celebrating our Bicentenary in many different ways. But one thing that we should all be doing is thinking about what it is to be an Australian. We should be learning about our past, trying better to understand the present, and thinking of the part we can play in the Australia of the future. You are Australia's future. Keep this medallion as a reminder of this important year in our history".australia -- history -- bicentenary, michael meszaros, australian bicentennial -
Bendigo Military Museum
Postcard - POSTCARD PHOTOS WW1, Edgar Dawson Collection : Assorted postcards, 1918
This six-postcard group is the seventh in a series of records of items in the collection of Edgar Dawson DCM. Dawson was the Regimental Sergeant Major of 57th Battalion, AIF. C Company of the 57th was composed of men drawn from Echuca, Eaglehawk and Bendigo. The postcards are from his personal album, and many are annotated in Dawson's hand with explanatory notes on the subject. Refer to Cat No 893 for his service details. Items originally in album cat. no. 207P These postcards illustrate the links between battalions, such as the 5th and 47th. 1. Group portrait of the Officers and NCOs of C Company, 47th Battalion. 47th Btn was drawn from Queensland and Tasmania, and C company was primarily Queenslanders. 2. Group photo of the signallers and stretcher bearers of 5th Battalion. Dawson note that Josiah and Norman Rolls, from Golden Square in Bendigo, are in photograph. 3. Group photograph of 57th Battalion medal recipients taken outside Exeter cathedral. 4. 57th Btn band 5 HQ Pioneers, 57th Btn, 8th of October 1917. Dawson notes that the man front row extreme right is 50 years old. 6. Group photo of some officers of the 57th Btn 1. On verso "A.R. Tweddell, 47th Battalion, C Company A.I.F" 2. On Verso "This is a group photograph signallers 5th Battalion Jo and Norm Rolls" 3. "Group taken in Exeter at a a presentation of medals" 4. "This is our band can you pick out Bob Scott" 5. "This is our HQ pioneers who do all our building. The chap on the front row right is fifty years of age and came away with the first contingent. Also the corporal, sergeant and two left had men rear rank" 6. "This is a photo of some of the officers of our battalion. Colonel J.C. Stewart centre, Major R.M. Cotheson on left, Captain Laing M.C. on right. Will tell you the rest when I get home"postcards, 57th battalion, edgar dawson dcm -
National Wool Museum
Photograph Album
Album contains photos of the Elliott and Dibb wool sorting and blending operations; also six photos showing operations inside the Oriental Scouring Mills, Geelong. There were yellow sticky notes (non-contemporary, written by Gerald Van Rompaey) containing information on each photo scattered throughout the album. These have been removed for conservation reasons and their details transcribed here. The first note stated: "Michael's mother (the donor's mother, Mrs Elliott) said this album was got up as a promotional tool for an expensive overseas trip by Harold E. (her brother in law in 1950)". The 1st photo shows the skirtings in the reclass bins in the former Australian Estates Collins Street show floor. The 2nd photo is similar to the first; the 3rd photo shows the fleeces being reclassed. The 4th photo shows the wool sorters at work (Harold Elliott can be seen in the double breasted suit). The 5th photo is of more reclassing, and the 6th is similar. The 7th photo shows Harold Elliott with the sorters and the 8th photo is similar. The 9th photo shows the first and second pieces of the skirtings being sorted. The 10th photo is a general shot of full bales and the reclass bins. The 11th photo shows a double dumping press at work, compressing the already full bales for shipment. The 12th photo shows scouring operations at Oriental Scouring Mills in Geelong (the scouring has been contracted out by Elliott and Dibb). The 13th, 14th and 15th photos shows more scouring at the Oriental Scouring Mills. The 16th photo shows two men (Keith Dibb on the right) viewing the scoured wool. The 17th photo shows the scoured wool being pressed at the Oriental Scouring Mills, Geelong. The final six photos (the photos of the Oriental Scouring Mills operations) are all stamped on the verso with a photographer's stamp (Frazer Studios, Melbourne), suggesting that Elliott and Dibb commissioned a photographer to go to Geelong to take the photos. (a note from Gerald Van Rompaey identifying five photos has been found and is now located in supp. file 1417. It does not seem to identify photos in this album; the photos he identifies may turn up at a later stage.)Photograph from album compiled by Elliott and Dibb, wool merchants, 1950. This photo shows the skirtings in the reclass bins in the former Australian Estates Collins St show floor. Photograph from album compiled by Elliott and Dibb, wool merchants, 1950. This photo shows the skirtings in the reclass bins in the former Australian Estates Collins St show floor. Photograph from album compiled by Elliott and Dibb, wool merchants, 1950. This photo shows fleeces being reclassed. Photograph from album compiled by Elliott and Dibb, wool merchants, 1950. This photo shows the wool sorters at work (Harold Elliott can be seen in the double breasted suit). Photograph from album compiled by Elliott and Dibb, wool merchants, 1950. This photo shows wool being reclassed. Photograph from album compiled by Elliott and Dibb, wool merchants, 1950. This photo shows wool being reclassed. Photograph from album compiled by Elliott and Dibb, wool merchants, 1950. This photo shows Harold Elliott (double breasted suit) with the wool sorters. Photograph from album compiled by Elliott and Dibb, wool merchants, 1950. This photo shows Harold Elliott (double breasted suit) with the wool sorters. Photograph from album compiled by Elliott and Dibb, wool merchants, 1950. This photo shows the first and second pieces of the skirtings being sorted. Photograph from album compiled by Elliott and Dibb, wool merchants, 1950. This photo shows the full bales and the reclass bins. Photograph from album compiled by Elliott and Dibb, wool merchants, 1950. This photo shows a double dump wool press at work, compressing the already full bales of wool even smaller for shipment overseas. Photograph from album compiled by Elliott and Dibb, wool merchants, in 1950. This photo shows the scouring operations at the Oriental Scouring Mills in Geelong (the scouring had been contracted out by Elliott and Dibb). Photograph from album compiled by Elliott and Dibb, wool merchants, in 1950. This photo shows the scouring operations at the Oriental Scouring Mills in Geelong (the scouring had been contracted out by Elliott and Dibb). Photograph from album compiled by Elliott and Dibb, wool merchants, in 1950. This photo shows the scouring operations at the Oriental Scouring Mills in Geelong (the scouring had been contracted out by Elliott and Dibb). Photograph from album compiled by Elliott and Dibb, wool merchants, in 1950. This photo shows the scouring operations at the Oriental Scouring Mills in Geelong (the scouring had been contracted out by Elliott and Dibb). Photograph from album compiled by Elliott and Dibb, wool merchants, in 1950. This photo shows two men (Keith Dibb on the right) viewing the scoured wool at the Oriental Scouring Mills in Geelong (the scouring had been contracted out by Elliott and Dibb). Photograph from album compiled by Elliott and Dibb, wool merchants, in 1950. This photo shows the scoured wool being pressed at the Oriental Scouring Mills in Geelong (the scouring had been contracted out by Elliott and Dibb). Photograph album front cover. Album compiled by Elliott and Dibb, wool merchants, 1950.Frazer Studios / (C.J. FRAZER) / 165 BOURKE STREET / MELBOURNE, C.1 / CENT. 4358woolclassing, wool processing, elliott and dibb oriental scouring mills, scouring, wool press, wool press - double dump -
The Beechworth Burke Museum
Photograph - Photograph - Reproduction
This photo depicts a man standing next to a large piece of mining equipment identified as a hydraulic chisel (alternative name: drifter dill or power rock drill). This piece of machinery was used in mining to place holes in the walls of a mine which were then filled with dynamite or other explosives for rock blasting or to make holes for plug and feather quarrying. The additional tools to the right of the photograph and in front of the machinery can be identified as either picks or as feather and wedges, the latter of which were used to split stone drilled by the hydraulic or power chisel. Depending on the date of the photograph, which is not provided, this chisel was either powered by electricity or by hydraulics. The following is written on the drill "R.C. FORD'S PATENT No91 / MELBOURNE VICTORIA 1879". The man depicted in this photograph wears a wide brim hat, a loose fitting white shirt and loose pants. He wears boots and has a medium sized dark beard. This attire, along with his locality in the mine and proficiency with the mining equipment, identifies this man as a miner working in this particular, but unidentified, mine. It depicts an instance of hydraulic chiseling which makes this photograph valuable for the study of mining techniques from a date c1880.The search for gold is ingrained into the history of Victoria and therefore, images like this one which portray the types of machinery used in mining can reveal important information for technology and highlight the methods used to break apart the earth in order to obtain access to gold and other precious materials during the period this photograph was captured. Further research into RC Ford can potentially reveal even further information pertaining to this photograph. This image is of important historical significance for its ability to convey information about the methods and machinery used to access gold or mine more in general. It also highlights the size of machinery at the time and allows us to compare this to the size of the person standing besides the machinery to better understand the manpower which would have been required to use and set-up this macinery.A black and white rectangular reproduced photograph printed on matte photographic paper.Reverse: 7816/ copy 1/3gold, sluicing, gold sluicing, hydraulic sluicing, gold and tin mine, mining, gold mining, beechworth, burke museum, melbourne, victoria, hat, mining machinery, machinery, r. c. ford -
The Beechworth Burke Museum
Animal specimen - Australian Hobby, Trustees of the Australian Museum, 1860-1880
The Australian Hobby is a medium-sized falcon of the Falconidae family, similar in look to the larger sized Peregrine Falcon. This species is widespread and can be found across most of mainland Australia and Tasmania, preferring lightly wooded areas such as timbered wetlands, open wooded farmland, and some urban areas. Their diet consists of small birds, bats, and flying insects, which are caught mid-air. They sometimes hunt cooperatively to catch their prey. This specimen is an accurate depiction of an Australian Hobby. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This Australian Hobby has a dark brown cap and cream-coloured half-collar. The back feathers of the bird are also a dark brown colour, while the neck is a cream with lighter brown streaks. The flank is a dappled dark brown, rufous-brown and cream, which transitions back into cream with brown streaks near the legs. The underwing feathers appear to be a banded dark brown and cream. The tip of the hooked beak is black which recedes to light blue-grey and then to yellowish near the head join. The legs are also yellow. The specimen is perched on a wooden perch mount with a swing tag tied around its left leg.23. / Australian Hobby / See catalogue, page, 6 / taxidermy mount, taxidermy, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian hobby, australian birds, little falcon -
The Beechworth Burke Museum
Animal specimen - Pink-Eared Duck, Trustees of the Australian Museum, 1860-1880
The Pink-eared Duck can be found throughout Australia, commonly in locations that are timbered and near water. This species of Duck prefers to reside in areas which are shallow, temporary waters and on occasion may venture into open wetlands if with a large flock; however, this species is highly dispersive and often nomadic. The special bill of this Duck is designed to enable the bird to catch their food. The bill is fringed with grooves which filter out microscopic plants and animals from the water which makes up the birds diet. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.The Pink-Eared Duck is named for the small pink spot of feathers which feature on the sides of the drake's head. Another name for this bird is Zebra Duck because of the striking bold black and white striped plumage which decorates the duck's neck, breast and stomach. The bill is spoon shaped and the eyes are made of dark coloured glass and surrounded by brown colouring. The bird has brown wings and light coloured legs with webbed toes. This particular specimen stands on a wooden square platform. There are signs of damage on the platform and a wooden identification tag is tied to the upper right leg of the bird.6a./ Pink-eyed Duck / See Catalogue, page 39 / taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, duck, pink-eyed duck, pink-eared duck -
The Beechworth Burke Museum
Photograph - Lantern Slide, c1900
This image shows a semi-aerial view of commercial and official properties lining Ford Street, Beechworth, in approximately 1900. The tower of Christ Church of St Peter and St Paul can be seen in the middle section of the photograph, on the left-hand side of the street. The Church was constructed in 1858 with the tower added to the structure in 1864. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is significant because it provides insight into Beechworth's built environment and commercial and official infrastructure in the early Twentieth Century, around the time of Australia's Federation into one nation. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a square image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, ford street, christ church of st peter and st paul, church tower, landmarks, 1900, shopping facilities, public buildings, 1900s, built environment, streetscape -
The Beechworth Burke Museum
Functional object - Silver Stamp Case, unknown
Stamp cases/holders began being produced in the late 19th century, commonly made of gold, wood, and silver. In this case, the item is made of sterling silver and has patterns and details etched into the metal sheets that make up the case. Sterling silver is the standard alloy used in jewellery and detailed metalworks with its physical properties making it maleable and corrosion resistant, therefore a favourable metal to work with both across many centuriesn the past and present. Stamp cases where popularised by James Allen of Birmingham who created and registered the stamp holders he made. As they gained popularity, it was common for stamp holders to consist of multiple compartments holding various small items such as matches, strikers and of course stamps. Metalwork and silverwork has been a prominent proffession and artform historically and socially for many years. There are many different types of metal work to specialise in and distinct patterns and inscriptions for identifying the provenance of the item. Hallmarking is this proccess of inscribing the item, and consissts of four main components (including assaying) which can indicate the date of creation. Unfortunately this item has no hallmark, therefore it is relatively unknown where, what, when and who created it.This item is of social and historic significance as it highlights the importance of preserving histoical items. This item display's the intricate and highly skilled trades of the past with a glimpse into the social and cultural aspects of the beechworths' history.A small, silver stamp holder with decorative details etched into the metal. It has a small loop on the left side of the case, indicating it could be connected and held by a chain or ring. A01145 (obejct number): A01145 [object number inside stamp case] / STERLING SILVER [inscription inside stamp case]metalwork, silver, silverware, sterling silver, stamp holder, stamp case, burke museum, social history, burke museum collection, beechworth -
The Beechworth Burke Museum
Animal specimen - Wombat, Trustees of the Australian Museum, 1860-1880
Wombats are short-legged, muscular, nocturnal marsupials that live in a wide variety of habitats throughout Australia. A common wombat can grow up to 1.2 metres in length and weigh up to 35 kilograms. The name “wombat” comes from the Darug language spoken by the Aboriginal Darug people, who originally inhabited the Sydney area. The wombat was first recorded in 1798 by explorer John Price on a visit to Bargo in New South Wales, however, wombats are depicted on Aboriginal rock-art that date back as far as 4,000 years ago. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum and the National Museum of Victoria, as well as individuals such amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century. This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century. Medium sized stocky wombat with a broad head and two muscular forelegs and two weaker hind legs that are met with long sharp black claws. The hair is long, thick and coarse in brown/yellow shades. The head features two small black eyes that have been made from glass, two short pointed ears and a bare nose pad. On wooden mount: BMM 5901 /taxidermy mount, taxidermy, wombat, animalia, vombatidae, burke museum, beechworth, australian museum, skin, reynell eveleigh johns -
The Beechworth Burke Museum
Animal specimen - Pacific Gull, Trustees of the Australian Museum, 1860-1880
This gull specimen is a young Herring Gull (Larus argentatus). It is a large gull and one of the most well known of the gulls. This particular species can be found in Northern Europe, Western Europe, Central Europe, Eastern Europe, Scandinavia and the Baltic States. Juvenile and first-winter Herring Gulls are a brown colour with some darker streaks with a bark bill and dark eyes. These colours identifies this particular specimen as a juvenile bird. These birds are commonly seen near the seaside and are omnivores who scavenge from garbage dumps, landfill sites and sewage outflows. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum and the National Museum of Victoria, as well as individuals such amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century. This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This specimen is a juvenile Herring Gull with pale cream and brown coloured plumage. It has a dark bill and dark legs with webbed toes. The eyes are small and are made of glass. They are a pale brown and black colour. The feathers on on the lower back and tail are a darker brown colour compared to the pale plumage on the rest of the bird.Paper Tag: "2yd variega[ted]... Catelogu[e]..." Paper Tag: "Larus argentatus" Metal Tag: "1511"taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, gull, pacific gull -
The Beechworth Burke Museum
Animal specimen - Nankeen Night Heron, Trustees of the Australian Museum, 1860-1880
Nankeen Night Herons reside in Australia wherever there is permanent water. They can often be found in wetlands, shallow river margins, floodplains and parks and gardens. These birds spend the day time roosting in groups among dense foliage and emerge during the night. An adult Nankeen Night Heron is identified by the black cap on its head and a pale breast. This particular specimen has these signs which enable it to be identified as adult. The large eyes of the Nankeen Night Heron are a bright yellow colour which are adapted to night vision. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum and the National Museum of Victoria, as well as individuals such amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century. This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.The Nankeen Night Heron has a stocky body and is standing tall on a wooden pedestal and looking towards the upper right. This adult specimen has yellow and black glass eyes and a long pale grey bill. Plumage on the head is black which turns a pale cinnamon on the nape of the neck. The wings are placed along the back of the body and are a light brown. The torso is a pale buff colour. This specimen has nuptial plums which look like they come out of the back of the birds head. These plums are long white feathers which appear during the breeding season.taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, nankeen night heron, heron, nocturnal -
The Beechworth Burke Museum
Animal specimen - Australasian Bittern, Trustees of the Australian Museum, 1860-1880
The Australaisn Bittern is a partly nocturnal bird who resides in costal and sub-coastal locations in south-west mainland Australia, south east Australia and Tasmania. They can be found in wetlands, swamps and among reeds. These birds are mostly brown and yellow in colour and with short legs and a stocky body. The "woomph" sound made by the Bittern late at night is thought to have been the origin of the traditional Aboriginal myth of the Bunyip. The Bunyip, like the Australasian Bittern, was believed to reside in reedy swamps. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century. This Australaisn Bittern is a stocky bird stylised in a standing position with brown colouring. This colouring makes the bird difficult to see in the dense, reedy vegetation it resides amongst in shallow freshwater wetlands. When threatened, the Australaisn Bittern will raise its bill skyward in a pose which helps it camouflage. This specimen has streaked yellow-brown feathers, a yellow bill and legs which are a yellow-green colour. It stands on a wooden platform.taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, bunyip, myths, australaisn bittern, bittern