Prior to the first antivenom development in Australia, many of the snake men had a vast array of snakebite remedies they either used for themselves in the case of bites or pedaled to the public. Treatments such as ammonia, strychnine, chlorinated lime, potassium permanganate, suction caps, alcohol, gunpowder, petrol, toad urine, iodide swabs and pig face plant juice were some that were used and sold. The first antivenom produced in Australia was in 1930 for tiger snake bites. Subsequently, in response to public pressure, other antivenoms were produced. Taipan, 1955; Brown snake, 1956; Death Adder, 1958; Papuan black snake, 1959; Sea snake, 1961; and the polyvalent, 1962.Black box with hinged opening and gold leaf printed text on the top. Inside the box is lined with blue satin and velvet, and contains one (1) syringe with glass chamber and metal plunger and black rubber stopper, one (1) glass bottle with a label stating it contains chloride of lime, one (1) glass bottle with a label stating it contains pure alcohol and two (2) needles with metal connectors, one of which is broken. There is also a small wooden block with a groove in the top of it.Gold lettering on top of box: CHLORIDE OF LIME ANTIDOTE / FOR / SNAKE BITE / FELTON GRIMWADE & CO. / MELBOURNE.hydrochloride lime, alcohol, antidote, venom, snake bite

Emu eggs are perfect for decorating, painting or carving. Emu egg shells have multiple layers ranging from an inner white layer through to the dark green outer layer. The contents must be removed through a small hole (either tool drilled or poked with a needle). After the yolk has been blown out (scrambling the yolk first by poking with a needle will make it easier to remove), the egg needs to be washed through and left to drain dry. It can then be painted, carved, etched or decorated. Emu decorating is a traditional Aboriginal art. The carving of emu eggs by Indigenous and non-Indigenous people was popular in the late 19th century but production declined in the 20th century, partly due to the protection of eggs through legislation. This has been overturned in recent years with the development of commercial emu farms. In the period between the two world wars particularly, with the production of other Aboriginal artefacts for an outside market, the carving of emu eggs provided an important source of income for Aboriginal people in many parts of Australia. It was a widespread practice in the south-east and it was not unusual for Aboriginal people to decorate their own homes with carved eggs and other items created by themselves or community members, serving to affirm an Indigenous identity within the domestic environment. (ref National Gallery of Australia)This item is significant for its uniqueness and its aesthetic appeal.An emu egg which has been painted white and decorated with glued on cord/thread to make a pattern of flowers and leaves.emu-egg ornament handcraft

Two Cards with thread wound around middle:- 1851.1 Thread 1851.2 Mending lisle. Third Card "Rite Tone for hosiery darning. Box (empty) for Hose Mending1851.1 Barbour's Lisburn N.Ireland Trade Mark Flax Linen Thread 15 Yards|1851.2 Della Darn Mending List Fashion Shades For Hosiery 3. Darning. Rite Tone Made in Australiaa. specially prepared for Hosiery/Darning Etc. 4. Box - The Handbag Silk Hose Mending Outfit 12 Fashionable Shades with needle Made in England.handcrafts, needlework

Set of 25 transparencies taken on 26/2/1972 on Kodak mounts. 1204.1 - Bendigo No. 5 - just arrived at Manchester Loop near Havilah Road, Long Gully. Photo taken after tram has passed photographer. 1204.2 - No. 26 in Backhaus St. Long Gully passing William St, en route to Quarry Hill. Photo taken after tram has passed photographer. 1204.3 - No. 5 climbing the High St. Hill Eaglehawk, heading for Quarry Hill with the buildings on the West side of High St. in the background, including the Eaglehawk Town Hall. 1204.4 - as for 1204.3, but tram close up. 1204.5 - as for 1204.3, but after tram has passed photographer. 1204.6 - No. 5 at intersection of Mt Korong Road Ironbark and Calder Highway, with the AMPOL service 'station in the background. Photo taken after tram has passed photographer. 1204.7 - No. 26 en route to Quarry Hill shortly after leaving Needle Loop, passing William St., Long Gully. 1204.8 - No. 5 at California Gully Loop, picking up a passenger, with the shops at Long Gully in the background. Photo taken after tram has passed photographer. 1204.9 - No. 5 in Long Gully, en route to Quarry Hill. Photo taken after tram has passed photographer. 1204.10 - No. 2 at Eaglehawk terminus with the Eaglehawk Town Hall and Post Office in the background. Tram has two SEC roof ads. 1204.11 - No. 2 at Eaglehawk terminus, close up. 1204.12 - as for 1204.11, but through the park gates. 1204.13 - as for 1204.11, but with tram stop shelters in the foreground and buildings on the West side of High St in the background. 1204.14 - No. 2 in Mt. Korong Rd, midway between California Gully Loop and Needle Loop. Photo taken after tram has passed photographer. 1204.15 - No. 5 in Long Gully, en route to Quarry Hill. 1204.16 - as for 1204.15, but with trams departed loop. Has an ESSO service station in the background. 1204.17 - No. 26 leaves Charing Cross up View St.. Photo taken after tram has passed photographer. Has Armstrong Tyre Service, Cohns Drinks ad on a building and the T&G building in the background. Also Firestone ads on the tyre service building. 1204.18 - No. 5 waits at Charing Cross with the Alexandra Fountain in the background. Tram has two SEC roof ads, 'Everything s fine in my all electric kitchen' and 'Electricity Best for Cooking'. Has RACV, Colonial Mutual Life buildings in the background and the planting areas around Charing Cross gardens in the foreground. 1204.19 - No. 21 en route to North Bendigo arrives at Charing Cross, with passengers waiting to board. No. 5 in the background. In the background is the Fountain Gate Plaza building and the City Family Hotel. 1204.20 - as for 1204.19, but with No. 7 en route to Golden Square. 1204.21 - as for 1204.19, but closer up. 1204.22 - as for 1204.18 1204.23 - No. 25 in Nolan St. near the crossing of Bendigo Creek, running a special tram tour. 1204.24 - No. 25 on a special charter, in Weeroona Ave. at Cnr of Caledonia St. passing the Gas works. 1204.25 - Nos. 25 (showing Golden Square), 7 and 26 at Charing Cross. Has fountain in the background.Information written on in blue ink and date stamped on purple ink. 1204.1 - "No. 5 at Manchester Loop, near Havilah Rd. Long Gully." 1204.2 - "No. 26 in Backhaus St. Long Gully passing William St." 1204.3 - "No. 5 in High St. Eaglehawk." 1204.4 - "No. 5 in High St. Eaglehawk." 1204.5 - "No. 5 in High St. Eaglehawk." 1204.6 - "No. 5 in Mt. Korong Rd., Ironbark, passing Calder Highway Junctn." 1204.7 - "No. 26 shortly after leaving Needle Loop, passing William St., Long Gully. No. 5 cresting hill in distance." 1204.8 - "No. 5 at California Gully Loop." 1204.9 - "No. 5 in Long Gully" 1204.10 - "No. 2 at Eaglehawk terminus." 1204.11 - "No. 2 at Eaglehawk terminus." 1204.12 - "No. 2 at Eaglehawk terminus." 1204.13 - "No. 2 at Eaglehawk terminus." 1204.14 - "No. 2 in Mt. Korong Rd, midway between California Gully Loop and Needle Loop. 1204.15 - "Nos. 2 and 26 crossing at Long Gully." 1204.16 - "No. 26 leaves Long Gully loop for Eaglehawk as No. 2 pulls out of the far end towards Bendigo" 1204.17 - "No. 26 beginning the climb up View St. from Charing Cross." 1204.18 - "No. 5 at Charing Cross." 1204.19 - "No 21 arrives at Charing Cross from Golden Square while No. 5 awaits departure time for Eaglehawk." 1204.20 - "Nos. 7, 21, and 2 (behind which is No. 5) at Charing Cross." 1204.21 - "Nos. 7, 21, and 2 at Charing Cross." 1204.22 - "No. 5 at Charing Cross." 1204.23 - "No. 25 in Nolan St. near Bendigo creek crossing" 1204.24 - "No. 25 in Weeroona Ave. at cnr of Caledonia St." 1204.25 - "Nos. 25, 7, 26 and 2 (behind 26) at Charing Cross."tramways, trams, bendigo, eaglehawk, long gully, california gully, charing cross, north bendigo, tram 2, tram 5, tram 7, tram 21, tram 25, tram 26

Item re Frederick Gardner DAVEY DFC No 410533 RAAF. Refer Reg No 3536P for his service details.RAAF issue mending kit. Rectangular, khaki, cotton drill material which can be rolled & secured with 2 white cotton ties. Inside the roll is a long white pouch divided into 3 sections. At the opposite end to the ties is a khaki pouch with a piece of grey flannel attached. Contents include 2 needles, 1 thimble, 3 silver metal buttons, 2 brown bakelite buttons, 2 hanks of navy wool, 1 hank of khaki wool, 1 hank of black, cream & green thread.Handwritten in black ink on outside near ties: 410533 RAAF.sewing, kit, military, accessory

This Eclipse model, treadle operated sewing machine was made by the Oldham Sewing Machine Company in Greater Manchester U.K.. It was used by sailmakers for sewing sails with box shape top and slim neck. Sewing machine, foot treadle, for sewing sails with box shape top and slim neck. Brand is Eclipse. Cast iron base is bolted to square wooden table-top with drawer under table. Drawer has 3 partitions and wood fitting with 5 drilled holes for needle storage, lock has diamond shaped, decorative metal surrounds; half of inside drawer is painted black. Decorative metal stand, painted green, with 2 foot pedals; 1 foot pedal drives the wheel wheel. Padals both have "ECLIPSE" cast into the iron.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, textile machines, sailmaker's machine, maritime sewing machine

Black and white photograph, taken from the corner of Thistle and Chum Streets, Lansell's 'Fortuna' is in the background. Note is made of the following unusual features: 1. Poppet legs 125 feet high (tallest on the field) on the North side of Chum St; engine house on opposite side. 2. 'Cleopatra Needle' type square - sectioned chimney on left and mullock road, 65 feet from ground at landing brace, where quartz was trucked directly across to Lansell's crushing battery in his 'Fortuna' grounds.place, mining site, lansell's 222 mine

This item belonged to Dr Geoff Bishop. Similar in appearance to Heath's glass aural syringe.Glass aural syringe with glass plunger, rod with compressed cotton plunger, and (loose) rubber cap [237.2]. The tip of the syringe is elongated and has no attachment for needles. Distal end of plunger has a widened area shaped like a small glass cork. Cottom thread is wound around a small depression. Distal end of plunger has been inserted through a small cork. Above the cork is a wooden cap with a central hole. The head of the plunger has a 'cotton reel' depression and fits into the outside of the wooden cap.irrigation

Textiles. Red velvet sewing kit with gold coloured metal clasp at front, and hinged lid. Irregular hexagon shape. Base covered with brwon paper with floral pattern. Inside lid lined with red satin. Inside base lined with red velvet. Contents: Three packets of sewing needles stored inside lid. Base contains two pairs of silver coloured metal scissors, one plastic crochet hook, one button hook with plastic handle, one hole punch with plastic handle.textiles, domestic, red velvet sewing kit

Ward Brothers (George and Samuel) registered a company (Australian Sewing Machines Limited Pty Ltd) with the head office address in Errol St, North Melbourne, and Prahan. The earliest newspaper advertisement for this company was in 1897. Around this time the Ward Brothers first imported sewing machines from England and Wertheim placed their decal on them and mounted them in their own Australian made cabinets. David Ward later imported machines from Beisolt & Locke in Germany and registered name  A.N.A. (All Native Australian), his shop was in Collingwood Melbourne. Some of these machines had Ward Brothers decals on them as well. The three brothers sold under the same name as Ward Brothers. The early Ward Brothers logo had a map of Australia with a picture of all three brothers on it. In 1911 all three of the Ward Brothers decided to share a stall in the yearly Melbourne exhibition. The A.N.A was the machine that got rave reviews. It was at this time that the Australian Sewing Machine Company Pty Ltd decided to add the A.N.A logo to their logo to cash in on the new found celebrity status that the A.N.A has gained. To cut a long story short. David Ward took his brothers to court to prevent this from happening. This was a long drawn out affair that took quite a few years. The settlement was decided out of court and nothing was disclosed of the deal that was made. David seemed to have left the scene, then the remaining Ward Brothers and A.N.A. combined and then became “Wardana”. There are many Ward Brothers sewing machines in displays, they originated from Japan, England, America, and Germany. It seems that where ever they got the best deal for sewing machines or parts is the direction they went. This is where the Bendigo sewing machine company came into the picture. All imported sewing machines into Australia drew a government tax. Bendigo Cording's Traction Company was given proposed two-pound tariff protection that gave the company a significant price advantage for its machines. As a result, the Ward Brothers purchased a huge number of Bendigo shares to get cheaper machines for their sewing machine cabinets. Ward Brothers then placed one of their company officials on the Board of “Bendigo Sewing Machines Limited” and the rest is history. Ward Brothers had shops Australian wide and in most of the major country towns. History for “Bendigo Sewing Machines Limited”     Cordings Traction Company owners (H. Keck MLC, W. Wallace, and W. Ewing) operated their business out of the former W. Webb & Co. building in Queen St. Bendigo. Around 1923-1924 they decided to switch from traction engines to manufacturing sewing machines. The actual date is not known but that year's financial report made note of both Cordings and Bendigo Sewing Machines Limited. The switch was made with the government of the day agreeing to a tariff of two pounds per head for every machine head made completely in Australia. The change from traction engines to sewing machines went well. Government representatives visited the factory in Bendigo to inspect and ensure that the sewing machines were Australian made as a result they agreed on granting the two-pound tariff to the company. After the first 12 months, they built 30, the following 12 months the company had produced 1500 machines probably due to the involvement of the Ward brothers. However, the government proposed a new condition to the tariff agreement which was that the company must produce 20% of Australia's requirements for sewing machines. In 1924 after having had produced 1500 machines resulting in reaching their financial limit for tariff support. According to the government, the requirement was 15,000 machines for the next year had to be produced to qualify for the tariff. The company had already reached its production limit and unfortunately folded. There were several attempts to regain government assistance to save this new industry but it was to no avail. Even a promise to open another factory in Sydney was offered but unfortunately wasn't accepted. An item fabricated in Australia from a majority of imported parts from either Germany, America or England giving a snapshot into the early manufacturing industries that were operating at the time of Federation. Sewing machine, treadle, in timber cabinet. Branded Ward Bros, A.N.A., Australian Sewing Machine Coy. Decorative carved timber cabinet, hinged, fold-out laminated timber top and five drawers; two small on each side with handles and one long, shallow, between side drawers without handle. Thread is on bobbin in a rocket shuttle (both in good condition) plus spare empty shuttle (rusty). Brass ‘Half Yard’ ruler inlaid across front, measuring scale in inches and centimetres. Two metal shuttle cover plates (or throat plate / slide plate); front one is impressed with a gauge for needle and thread. Gold trim and decals on flatbed and machine front and back, serial number under shuttle cover, brand on decals and on round metal plate on back of machine. Front right of machine has a bobbin winder. Treadle belt shows signs of wear and laminate on timber machine cover is peeling slightly.Decal coat of arms on right front of machine: kangaroo on left, man with broad-brim hat, holding pick-axe on right, in centre, top “SEWING MACHINE / THE / A. N. A.” then below it, the rising sun, then below that is state of Victoria shield with the Southern Cross constellation. Wheat sheaves around edge on left and flowering plant on right. Gold ribbon banner at bottom with script “WARD BROS.“ Decal of map of Australia on flatbed of machine. States and capital cities are marked and named (no northern territory), portrait of two men. In centre of map are interwoven letters “A. N. A.” and written in script “WARD BROS.” Decal across front of machine body has large, decorated gold lettering “A. N. A.” Decal across the top of machine “THE AUSTRALIAN SEWING MACHINE COY. PTY. Ltd.” Steel shuttle cover at front has an impressed gage listing cotton and needle sizes and number of stitches. Brass disc on back of machine “A. N. A.” in centre. Brass ruler across front of machine has carved or pressed words in the timber. In centre “INCHES” above ruler and “CENTIMETRES” below ruler, and on right above ruler is “HALF YARD” Decal across back of machine’s body “A.N. A. / MADE IN U.S.A.” Stamped into metal under shuttle cover is “219415” (2 and 5 are partially there, first 1 could instead be a 7) flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, ward bros., australian sewing machine co., a.n.a., treadle sewing machine, rocket shuttle sewing machine, home industry, clothing, wardana, australian sewing machine company, all native australian, dressmaking, clothing manufacturer

These eggs could be ostrich eggs from an ostrich farm which operated just out of Marlo. It is likely that they were donated by Kate and Richard Earle who ran the enterprise. Emu and ostrich eggs are perfect for decorating, painting or carving. Emu egg shells have multiple layers ranging from an inner white layer through to the dark green outer layer. The contents must be removed through a small hole (either tool drilled or poked with a needle). After the yolk has been blown out (scrambling the yolk first by poking with a needle will make it easier to remove), the egg needs to be washed through and left to drain dry. It can then be painted, carved, etched or decorated. Emu decorating is a traditional Aboriginal art. The carving of emu eggs by Indigenous and non-Indigenous people was popular in the late 19th century but production declined in the 20th century, partly due to the protection of eggs through legislation. This has been overturned in recent years with the development of commercial emu farms. In the period between the two world wars particularly, with the production of other Aboriginal artefacts for an outside market, the carving of emu eggs provided an important source of income for Aboriginal people in many parts of Australia. It was a widespread practice in the south-east and it was not unusual for Aboriginal people to decorate their own homes with carved eggs and other items created by themselves or community members, serving to affirm an Indigenous identity within the domestic environment. (ref National Gallery of Australia)This item is significant for its uniqueness and aesthetic appeal.Two painted eggs on stands. 1907.1 is painted black and has white emus or ostriches painted on it. 1907.2 is painted white and has black emus or ostriches painted on it. Both stands are wooden with brass pedestals. The eggs are possibly ostrich eggs.handcraft emu-egg ornament ostrich-egg

Set of 13 transparencies taken on 24/5/1971 on Kodak mounts. 1200.1 - No. 7 en route to Golden Square turning from Bridge St. into Nolan St. Photo taken after tram has passed photographer. Tram has a briquettes roof ad. 1200.2 - No. 21 in McCrae St. just before Nolan St. Photo taken after tram has passed photographer. 1200.3 - No. 7 in Nolan St at corner with McCrae St. Passenger boarding tram at a tram stop. 1200.4 - No 7 turning from Nolan into McCrae St. with Golden Fleece service station in background. 1200.5 - No. 7 in Thunder St en route to North Bendigo. Photo taken after tram has passed photographer. 1200.6 - No. 5 en route to Eaglehawk just after leaving Needle Loop between Long Gully and California Gully. 1200.7 - No. 5 at the start of the double track in High St. Eaglehawk. 1200.8 - No. 5 at Eaglehawk terminus showing "Depot" with Leo A Hughes Photographer advertisement on building in background. 1200.9 - No. 5 at Eaglehawk terminus. Has two SEC roof ads 'Everything's fine in my all electric kitchen' and 'Electricity best for cooking'. 1200.10 - No. 5 at Eaglehawk terminus, with canon, war memorial outside Town Hall and Leo A Hughes Photographer advertisement on building in background. 1200.11 - No. 5 in McCrae St. about to enter Arnold St. and depot. Tram showing depot, has driver changing points. 1200.12 - No. 5 in Arnold St. Photo taken looking up the centre of the access track - shows the overhead at depot junction. 1200.13 - Depot entrance with signage at depot entrance and depot building in background.Information written on in black ink and date stamped on purple ink. 1200.1 - "No. 7 entering Nolan St. from Bridge St." 1200.2 -"No. 21 in McRae St. about to turn into Nolan St." 1200.3 - "No. 7 in Nolan St. at corner of McRae St." 1200.4 - "No. 7 turning from Nolan St. into McRae St." 1200.5 - "No. 7 in Thunder St. just after turning from Caledonia St." 1200.6 - "No. 5 just after leaving Needle Loop between Long Gully and California Gully. 1200.7 - "No. 5 in High St. Eaglehawk at start of double track." 1200.8 - "No. 5 at Eaglehawk terminus" 1200.9 - "No. 5 at Eaglehawk terminus" 1200.10 - "No. 5 at Eaglehawk terminus."\ 1200.11 - "No. 5 in McCrae St. about to enter Arnold St." 1200.12 - "No. 5 in Arnold St." 1200.13 - "Entrance to Bendigo Tram Depot, No. 5 running into shed."tramways, trams, bendigo, mccrae st, north bendigo, california gully, eaglehawk, depot, tram 5, tram 7, tram 21

This compass was used to determine directions using a free-moving magnetised needle, indicating north and south. W Hartmann was a compass maker located in Hamburg Germany some of his compasses are marked “Gehna” and “Nautica”. There is no information available regards W Hartmann, his successor in the business was “Georg Hechelmann” a marine instrument maker of which Gehna is an acronym of his name. In 1874 he patented an improved version of “Lord Kelvin Thomson’s” compass design of a paper rose with magnets hung on silk threads. It appears he worked in his shop from around 1878 until probably 1905. The company he founded "Gehna" is today a substantial international marine corporation and is still based in Hamburg. A rare example of an early binnacle and compass probably used on a sailing vessel. It is a significant item not only for it’s rarity but also because it demonstrates the progress of marine navigational instrument development in the late 19th century. The item was made by an early pioneer and innovator of marine navigation and instrument making. Compass and Housing; the brass housing, with side light box, insides a fluid dampening gimble compass. The maker is W Hermann/Georg Hechelmann, of Hamburg, Germany. The inscription ioncludes the number of the compass.Made by W Hartmann/Georg Hechelmann of Hamburg, No 7208flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, compass and housing, w hartmann, binnacle, georg hechelmann, navigational instrument, ship compass

The first hairpins were made of a composition, known as tortoise-shell, coming from the colour of the hairpin. The next hairpins were metal, but this proved unsuitable as it tended to rust. The hairpins were gradually improved. It is said the man who invented the 'ripple' in the hairpins made his fortune, as previously they were perfectly straight. These tended to slip out easily, and with the fashion of the bun at the back, often slipped down the ladies' backs. Needles to say any gentlemen nearby were quick to offer to retrieve them. Girls were expected to pin their hair up at 18, thus showing their maturity. It was a great thrill for 16 and 17 year olds to be allowed to put their hair up for a special occasion.Hairpins from Down the Years, on a blue board, with white paper on front.hairpins

Sewing machines were used by some ladies to mend and make clothes for the family as shops were some distance away and bought clothes were much more expensive. The sewing machines were also used to sew items for fund raising e.g.. Church and School fetes.Used in the Kiewa Valley.The machine has a brown wood veneer base and a lid with a metal handle in the centre of the top. There is a long screw that fits in a hole at the top of the lid. The screw can be lifted out and used to open and take off the lid. Inside there is a black metal machine which is fitted onto the wooden base. There is a compartment in the base, right of the wheel of the machine, which holds an instruction manual and a tube of ""Singer" lubricant for electric machines". The light, above the needle is covered by bakelite. A leather belt runs around the wheel on the right to enable the machine to run. There is a foot pedal and an electric cord attached."Singer Manufacturing Company" - gold embossed "No. EL 249 355" - oval disc "99K" - disc "Singer Manfg. Co. - discsewing machine; singer manufacturing company; kiewa valley

Clothing. Fine cream silk in a 8 pointed star shape, in the centre of the handkerchief - 15 cm diameter. Fine silk lace, 10 cm deep, surrounds this centrepiece. Adjoining the star shape is a one cm wide border, surrounded by 1.5 cm flowers, identical to those in the matching collar(11414.26). A Maltese Cross design in each corner brings the piece to a square shape. This joins fine lace in a flower and leaf design, with the Maltese Cross design in each corner, and at centre of each side. Fan-shaped edging surrounds the handkerchief, and a repeat of the needle - woven flowers as in 11414.26.costume accessories, female, silk handkerchief

The Artist in Residence program enabled research of the Museum's collection of artefacts relating to 11th Battalion AIF. Access was provided to the behind the scenes storerooms of uniforms, banners, photographs, artefacts and diaries. Michele summarised her experience with the project as follows: "It was an interesting experience and a topic I would not probably have considered had I not been asked. The mixture of history and the people who lived through these times has been an absorbing and rewarding journey for my art practice."Mixed media / textile art from Department of Culture and the Arts, Artist in Residence program 2015 by Michele Eastwood. The hand knitted sleeveless jumper in the Museum, made by Sergeant John Ellwood Rudd of the 48th Battalion was the inspiration behind this work. With great ingenuity John Rudd unwound the knitted socks sent by the women back home. Creating knitting needles fashioned from the barbed wire surrounding the POW camp he was incarcerated in, he knitted a jumper to help him through the freezing winters of Germany in the First World War. Original artefact was inspiration for this artistic interpretation.

Pro (Kevin Charles) HART (30 May 1928 – 28 March 2006) Born Broken Hill, New South Wales Pro Hart drew upon a variety of techniques in his paintings, including layering, chiaroscuro, glazing, scumbling, scratching and Alla prima. Insects, particularly ants and dragonflies, are among Hart’s most popular and most identifiable images. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Etched bookplate featuring ants. This is the only etched Bookplate Pro Hart created, and one of only two Ex Libris designs created by the artist. It was made in Broken Hill, New South Wales in 1999 for his friend Robert Littlewood. Printed on fine art paper in the intaglio method directly from the original copper plate. The plate was needled by the artist using a make-shift tool cut from mild steel. This Bookplate is the subject of a small Private Press book written by Professor Karal Ann Marling (retired), of the University of Minnesota, to be published by The Lytlewode Press, 2010.pro hart, ex libris, bookplate, robert littlewood, keith wingrove memorial trust, ant

Multi-fold brochure advertising public auction of 37 lots on Saturday 7th November, 1914. Brochure includes terms of sale, description of subdivision features and local facilities, and photographic images of the area. Subdivison includes Smedley Road, Oban Road, Berringa Road, and Williams Road, North Ringwood. Auctioneers: Coghill & Haughton, 79 Swanston Street, Melbourne, in conjunction with J.G. McAlpin, Ringwood. Brochure includes Clearing Sale to be held same day for "everything required to work these orchards, from a packing needle to a traction engine ... comprising the most up-to-date and extensive farm & chaffcutting plant in this great district".

Mrs Martha Closter ( Kloster), of Oakleigh purchased the Melber Sewing Machine in 1909 and gave it to her daughter Mary when she and Alonzo Box married in 1918 and settled in Moorabbin Shire. This document was donated by a descendant of the Box family in 1985.William and Elizabeth Box purchased 'Box Cottage' in 1865 from a pioneer settler who had bought part of the land noted in Dendy's Special Survey 1841 Brighton. They raised their family there and established a market garden to supply produce to the population of Melbourne. Their nephew Alonzo married Mary Kloster/ Closter in 1918 and she brought with her the 'Melber' sewing machine that she used to provide clothing for the familyThe original paper Receipt of the Melber Company Sewing Machine, 154 Chapel Street Prahran on July 15th 1909. Mrs Closter purchased a ‘Melber Rotary Hook Sewing Machine , 4 drawers and attachment. No. 17469 costing 9 pounds, less due 7 shillings and 6 pence leaving the sum of 8 pounds 12 shillings and 6 pence Paid by Cash to Powell & Candy per ……… on 15/7/09 ( hand written ) MELBER SEWING MACHINES / 154 CHAPEL STREET, / Prahran / Mrs Closter July 15th 1909 ( handwritten) / Dr. to POWELL & CANDY, / IMPORTERS / New and Secondhand Machines for Cash and Easy Terms. / Repairs promptly executed Locks repaired. Keys fitted. Needles and Parts for all Machines. A stamp 25mm x 30mm is on left corner of document ‘ VICTORIA STAMP DUTY ‘ -at top and base - ‘1d ‘ - centrally victoria, melbourne, clothing, brighton, moorabbin, pioneers, sewing, box elizabeth, box alonzo, closter mary, kentucky, early settlers, america, craftwork, sewing machines, melber company, u s a, prahran, kloster martha

Sailmaker's twine is usually stored on a reel. It is wax coated and ready to use. The twine is made from strands of fibres that are plied together. The wax waterproofs the twine and smooths out the fine hairs of the fibres, making it easier to work with. The waxed twine helps prevent the ends of the rope work from fraying. Sailmakers use twine and needles to sew sails and many other canvas items such as bags and covers. Special tools, equipment, benches and seats are needed to work with the large heavy and thick pieces of canvas. Sometimes the sailmaker with have special-purpose tools made for his unique work. The place of work on shore is often called a sailmaker's loft. However, sailmakers also work on the job, on sailing ships and boats. This twine is an example imperative equipment for sailmakers. Sailmaking was an essential trade in the shipping industry of the 17th to 19th and early 20th centuries. Sailmakers were often part of a ship's crew, making repairs as needed and using their skills for other work such as net making.Twine; reel of brown waxed sailmaker's twine.warrnambool, shipwreck coast, flagstaff hill, flagstaff hill maritime museum, flagstaff hill maritime village, twine, waxed twine, sailmaker's twine, sailmaker's equipment, sailmaking, canvas work

This knitted layette including a bonnet, cardigan, and two booties was created by Mrs Lavinia Brown, a champion knitter who loved Churchill Island. Mrs Brown was born on 16 June 1913 in Regent, and she entered all of her knitting into the Royal Melbourne Show. Her daughter recalls that her knitting never won anything less than first prize, and was most often Champion. She remembers that once Mrs. Brown's work was disqualified as being 'machine knitted', and after an appeal in which she was required to knit a pattern in front of them, she was awarded the champion. Mrs Brown chose to use bicycle spokes with wax ends as she could not find needles small enough for use to make babies' clothing.Lavinia Brown loved Churchill Island, and this was donated by her daughter, A. Cattell. It represents a superb example of non-conventional hand knitting as well as being of the era for Churchill Island.Cream fine wool knitted layette comprising of bonnet, cardigan, and two booties. layette, churchill island, lavinia brown

Set of 20 transparencies taken on 21/5/1971 on Kodak mounts. 1197.1 - Bendigo No. 5 en route to Eaglehawk at Creeth St Long Gully. Tram has a SEC roof ad and Cinzano roof ad. 1197.2 - No 5 approaching Needle Loop between Long Gully and California Gully. On left hand side is the City of Bendigo sign, indicating city boundary. 1197.3 - As for 1197.2 but actually entering loop. Photo taken after tram has passed photographer. 1197.4 - No. 26 bound for Eaglehawk descending the railway bridge near Eaglehawk, at Jobs Gully. 1197.5 - as for 1197.4, but after crossing bridge, now ascending a hill. Photo taken after tram has passed photographer. 1197.6 - No. 26 climbing High St. hill Eaglehawk, nearing end of Double track, bound for Quarry Hill. Shows centre of the road poles. 1197.7 - As for 1197.6, with tram entering single track section. Photo taken after tram has passed photographer. Has a BP service station in the background. 1197.8 - No. 26 (bound for Quarry Hill) crossing No. 17 (Eaglehawk) at Job's Gully Loop. 1197.9 - No. 17 climbing railway bridge at Job's Gully, en route to Eaglehawk. Photo taken after tram has passed photographer. 1197.10 - No.26 bound for Quarry Hill, leaving Long Gully Loop? Has the Creeth St. church in l197.l in the far background. Photo taken after tram has passed photographer. 1197.11 - Tramway Point work at the northern end of Long Gully Loop. 1197.12 - No. 17 en route for Quarry Hill turning into View St. from Bamard St. Tram has SEC roof ads "Everything fine in my all electric Kitchen' and 'Electric Cooking is Matchless'. 1197.13 - as for 1197.12, but tram has turned into View St and about to enter the double line track. Photo taken after tram has passed photographer. 1197.14 - No. 21 enters Nolan St after turning from MacRae St. en route to Bendigo. Note sign on its own post noting tram turns "Beware Tram Turns" and stop sign on adjacent pole "Trams stop on Request". No. 21 has two SEC roof ads. 1197.15 - No. 21 in Nolan St. after turning from Bridge St. (White Hills Road). Note signal light for Bridge St. loop on pole corner of street. Photo taken after tram has passed photographer. 1197.16 - No. 2 bound for Eaglehawk at unknown location. 1197.17 - Tram stop sign on a pole "CARS STOP BY REQUEST" 1197.18 - No. 5 in Carpenter St.? en route to Quarry Hill. 1197.19 - No. 28 has just arrive at Golden Square terminus, passengers are disembarking and the trolley pole is being turned. Golden Square Hotel in the background. 1197.20 - No. 28 at Golden Square terminus. Has a "Nothing beats Briquettes for hear roof ad. Information written on in black ink and date stamped on purple ink. 1197.1 - "No. 5 at Creeth St. Long Gully" 1197.2 - "No. 5 approaching Needle Loop between Long Gully and California Gully" 1197.3 - "No. 5 at Needle Loop between Long Gully and California Gully" 1197.4 - "No. 26 crossing railway bridge at Job's Gully near Eaglehawk" 1197.5 - "No. 26 just after crossing railway bridge at Job's Gully near Eaglehawk/ 1197.6 - "No. 26 in High St. Eaglehawk" 1197.7 - "No. 26 at end of double track in High St. Eaglehawk" 1197.8 - "Nos. 26 and 17 crossing at Job's Gully Loop" 1197.9 - "No. 17 crossing railway bridge at Job's Gully near Eaglehawk". 1197.10 - "No. 26 at Long Gully" 1197.11 - 'Northern end of points at Long Gully Loop". 1197.12 - "No. 17 turning into View St. from Bamard St. Bendigo". 1197.13 -'No. 17 at beginning of double track in View St. after leaving Bamard St. Bendigo. 1197.14 - "No. 21 enters Nolan St. from MacRae St. Bendigo." 1197.15 - "No. 21 in Nolan St. Bendigo just after leaving White Hills Road." 1197.16 - "No. 2" 1197.18 - "No. 5" 1197.19 - "Birney car No. 28 at Golden Square Terminus" 1197.20 "Birney car No. 28 at Golden Square Terminus" tramways, trams, bendigo, long gully, railway bridge, jobs gully, trackwork, nolan st, quarry hill, tram stops, golden square, tram 2, tram 5, tram 17, tram 21, tram 26, tram 28

This album shows a collection of photographs some of which are labelled as Munster Services Club. Some show the Bookshop at the TOC H building. There are photos of soldiers in parade drills and in training exercises as well as social events. One is labelled D Craven & Rab, Munster 1954. Another is labelled London bus 2 RTR Munster. The 2 RTR was a tank regiment in the British Army and was stationed at the Swinton Barracks in Munster from 1952-1959. There are also a number of loose photos showing local scenes such as London Bridge and Needle Rock at Childers Cove. Others depict floats in a parade showing Peace Woollen Mill. Others are small postcards of MaryBorough and Brisbane Queensland. There is also a photograph of the Nestanglo basketball team, Victorian champions circa 1940’s. This collection of photographs has limited local relevance as there is limited provenance. However it depicts quite well the activities of the RTR and their activities in Munster in the post WW era.Brown and fawn snake skin patterned card cover with fawn cord binding. Photographs written in gold on front cover. Pages are brown card. Photographs are black and white.Munster Services Club.warrnambool, swinton barracks munster, munster services club 1952-1959, 2rtr munster

This general purpose Multi-meter was manufactured after 1950 and used by the SEC Vic (Kiewa Hydro Electricity Scheme) from that date until late 1900's. It was used to measure very small voltages associated with the operation of the various Hydro Generators. The readings were able to be shown by the resistor in use in the current circuit. During this time period, high quality testing instruments were either sourced from Europe or England. This particular meter was manufactured in the Netherlands. This type of "old" analogue meter was replaced by digital meters whose electronic components are a fraction of the size of the older analogue ones.This analog General Purpose multi-meter is quite a large (for handheld mobile) apparatus which permits the easy monitoring of electrical variations within the large SEC Victoria Hydro Scheme's electrical generators. These generators are powered by the hydro force of "stored" water at a higher altitude. The establishment of both the NSW and Victorian Hydro schemes was achieved from the mid 1900's to the 1960's. At this point in time the need for additional power sources to quench both an industrial and domestic demand for electricity was purely an economic and not and environmental (carbon reduction) factor. This hydro scheme was instigated by "the Government of the day" as a bold move and was the major force of the World War II refugee and "technical" workforce inclusion of skilled and unskilled migration into the Australian environment. Although this mass "invasion" of workers with families was thought of in some circles as intrusive, the expansion of population post war years and its integration into the Australian rural sector, produced the multi- lingual multi-cultural diversity of later years.This General Purpose Multimeter is an analogue meter i.e. it has a needle arm that moves across a scale of divisions. This is a large(hand held) device due to the mechanical movement system within and the large size of its electronic components of its circuitry.There are two black bake-lite push buttons operating the wire inserts Positive/negative leads at the top. The meter (protected with a glass window) has clearly marked graduations (top - volts, bottom amperes). Below this are two bake-lite dials (left "potentiometer the right one measuring range selector). Below this is a "dial" switch to input the desired resistance measuring range "V" Front "H&B ELIMA" and to the right Elavi 15n. 0n the front side is a label "STATE ELECTRICITY COMMISSION OF VICTORIA TRANSMISSION DEPT E.C.No." On the bottom of the base is a stenciled layout of the battery "layout" including the fuse . The information notice is presented in five languages starting with German, English,French, Italian, Spanish and Dutchsec vic kiewa hydro scheme, alternate energy supplies, alpine population growth

The Fashion & Design collection of Kew Historical Society includes examples of textiles dating from the 18th, 19th and 20th centuries. Some of the textiles, were used as items of clothing, others as items of household decoration, or simply as travel souvenirs. These textiles were created both domestically and internationally. Predictably with the growth of an ethnically and culturally more diverse community in Kew after the Second World War, textiles, clothing and objects in the collection inevitably reflected this diversity. This form of bobbin lace is made in Malta. It is a guipure style of lace. Maltese lace is worked as a continuous width tape lace on a tall, thin, upright lace pillow called a "Trajbu" and the Bobbins are called "Combini" . Bigger pieces are made of two or more parts sewn together. Lace made in Malta was originally needle lace, from the 16th to the 19th century, when the economic depression in the islands nearly led to the extinction of lacemaking there. But in the mid 1800s, Lady Hamilton Chichester sent lacemakers from Genoa to Malta. They used the old needle lace patterns and turned them into bobbin lace, which was quicker. It was not long after its introduction that the Maltese lace developed its own style from Genoese lace. Maltese lace was shown at The Great Exhibition of 1851 and it became popular in Britain. The style was copied by lacemakers in the English Midlands, and it was one of the sources for Bedfordshire lace. Maltese lace usually has the following characteristics which are useful for identification: It is usually made from cream silk. There is often the 8 pointed Maltese cross as part of the pattern, worked in whole or cloth stitch.The pattern may also have closely worked leaves known as “wheat ears” or “oats”. These are plump and rounded in shape, rather than the long narrow leaves of other types of bobbin lace. Maltese lace edging. It shows the Wheat ears, characteristic of Maltese lacelace, maltese lace, lace tape

The Fashion & Design collection of Kew Historical Society includes examples of textiles dating from the 18th, 19th and 20th centuries. Some of the textiles, were used as items of clothing, others as items of household decoration, or simply as travel souvenirs. These textiles were created both domestically and internationally. Predictably with the growth of an ethnically and culturally more diverse community in Kew after the Second World War, textiles, clothing and objects in the collection inevitably reflected this diversity. This form of bobbin lace is made in Malta. It is a guipure style of lace. Maltese lace is worked as a continuous width tape lace on a tall, thin, upright lace pillow called a "Trajbu" and the Bobbins are called "Combini" . Bigger pieces are made of two or more parts sewn together. Lace made in Malta was originally needle lace, from the 16th to the 19th century, when the economic depression in the islands nearly led to the extinction of lacemaking there. But in the mid 1800s, Lady Hamilton Chichester sent lacemakers from Genoa to Malta. They used the old needle lace patterns and turned them into bobbin lace, which was quicker. It was not long after its introduction that the Maltese lace developed its own style from Genoese lace. Maltese lace was shown at The Great Exhibition of 1851 and it became popular in Britain. The style was copied by lacemakers in the English Midlands, and it was one of the sources for Bedfordshire lace. Characteristics of Maltese lace. Maltese lace usually has the following characteristics which are useful for identification. It is usually made from cream silk. There is often the 8 pointed Maltese cross as part of the pattern, worked in whole or cloth stitch.The pattern may also have closely worked leaves known as “wheat ears” or “oats”. These are plump and rounded in shape, rather than the long narrow leaves of other types of bobbin lace. Camisole, made of silk thread Maltese bobbin lace that is constructed of lengths of lace forming two rectangles with a hole for the neck. Shows the characteristic Maltese cross and wheat ears. Fabric is made of tape lace joined togethercamisoles, maltese lace, bodices

The knitting machine is a recently designed instrument, especially when it is compared with its ancient counterpart, the loom. It enables the creation of many metres of fabric very quickly. A knitting machine is composed of a series of needles which mimic the process of manual knitting. The mechanism engages numerous mechanical elements simultaneously and enables the creation of many metres of fabric very quickly. In addition, a knitting machine can be setup to produce unique bolts of fabric. The density of the fabric may be modified and a knitting machine can produce double-faced effects. A doubled-faced effect creates colour combinations through the introduction of an additional colour to the knitting pattern. This knitting machine is a Coppo brand. It contains over five hundred needles and was produced in the 1960s. It is a representation of the best available in the world at that time. Originating from Italy, it was designed for commercial use. Through both precision and capacity, Italian artisans were seen to be the best in the world of textiles and knitwear. Through emigration, globalisation and the regularly available quantities of wool, Australia came to compete on this stage. The owner of this particular machine migrated from Italy in 1959. When she did, she brought with her a Dubied knitting machine. She later replaced it with this Coppo. When in Australia the owner began work as a piece worker, knitting jumpers and worked for some of the iconic names in the Australian knitting trade including ES Poratt and Alpin Manufacturing. The owner’s role progressed from a piece worker to a wool garment designer and she won many Wool Industry Awards in the 1970s and 1980s. Her high quality of work using and her individual custom designs were spoken about by many of her customers and she had a very large private clientele. She designed and knitted fully fashioned tailored jumpers for people for around 30 years.Knitting table sits on a stand with wide metal legs. Legs contain lettering 'COPPO torino'. Legs are connected via three thin metal poles as well as a metal band and the bed of knitting table at top. The connecting metal band has the lettering 'SUPER - COPTAL' attached. The Knitting table itself contains two beds and a bench at the rear. Attached to the bench is a thin metal structure for the elevation of yarn. It has four crane esk structures above on this metal structure. The bench is covered in a pale grey laminate in the imitation of wood. Attached to the knitting bed is a sliding contraptions containing two handles at the front followed by a complex semi-circle sliding mechanism used to move the knitting mechanism front and back.Left Stand. Lettering: Coppo Torino Right Stand. Lettering: Coppo Torino Centre Stand. Lettering SUPER - COPTALcoppo, knitting machine, design, italy, wool, business, migrants