Small black tin made by Nobel. Holds 100 detonators. Painted black with white printing.On front side of tin "6 6" On rear side of tin "6 6" On lid of tin "NOBEL No.6 100 detonators for high explosives Alfred Nobel (Picture of thistle flower) THISTLE BRAND Manufactured in Australia GLASGOW" On left hand side and right hand side of tin "Must be handled with great care and kept dry. The composition must not be scratched or pricked with a pin, nail, knife or other hard substance. as any act of this kind may cause explosion."

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

A photo of a boy and his mother that was used on a brochure explaining Legacy's work and providing information on how to donate. Whom does Legacy help? What kind of help does Legacy provide? What is the composition of a Legacy Club or Group? How many dependents is Legacy actively helping in Victoria? What does Legacy spend in this Sate in its work? Why it necessary to provide this degree of help, when there is a generous Repatriation Act? What is Legacy's aim? Donations. Address given for Junior Legacy is Legacy House, 293 Swanston St, Melbourne. The photo was also used on the cover of the Legacy Newsletter in September 1953. The boy is wearing a Boys Class uniform with the Legacy logo and his mother is wearing a fur.A record of how Legacy portrayed itself to the wider community.One page white paper, printed, folded in half. Black and white photograph of a boy and his mother and printed text.Handwritten 'Mrs Masters 7330' in pencil on back page.marketing, legacy promotion, uniform

Frederick "Fred" Fifield Hall was born in Carlton, Victoria in 1878. Son of Frederick Hall and Jessie Wallace Hall (nee Lloyd), Fred would marry Elsa May Daegner in 1899 with whom he had a son named Anthony. Hall died on 27th September 1956 in Mont Albert, Victoria and was buried at the Box Hill Cemetery. Hall was known as a solo pianist and the first conductor of the Station Orchestra at 3LO (ABC Radio Station). He was also a notable music editor at Allan & Co. Earning early recognition at 16 years of age when he conducted the Sydney Orchestra, Hall was a versatile composer having written in a variety of styles including solos for the piano, violin and cello, operas, foxtrots and orchestral suites. Publications indicate that between 300 and 400 of his compositions were published. The most famous of which was "Goodbye Melbourne Town" which he wrote with Lyricist Leonard Nelson. "Let Me Go to Bendigo" was another of their joint compositions. Leonard Nelson Snell, professionally known as Leonard Nelson, was born c. 1874 in Melbourne and grew up in Kew (he was 76 in 1950). Nelson married Lily Maud Haight in Victoria in 1897 and had six children named Roy, Dorothy, Leonard, Lionel, Austin and Marie. Nelson died on the 13 August 1962 in Blackheath, NSW and was buried at the local cemetery. Nelson had a varied resume including Cattle station work, song writing and public speaking. Nelson was known for his enjoyment of Australian poetry having known many of the greats personally and could recite works from memory. In his later life, Nelson worked as an entertainer for hire at banquets and other social gatherings. No. 181 Allan's popular sixpenny edition "Sung with great success by Leonard Nelson" Allan & Co. Pty Ltd. Melbourne, Bendigo & Geelong 1 score A B4 size document containing sheet music titled "Let Me Go to Bendigo". The document has a black and white cover with bold lettering and a cartoon of a man boarding the Bendigo Train. The music was written by Fred Hall and the lyrics were written and sung by Leonard Nelson who is pictured on the cover. The music covers 3 pages (1 double sided page and 1 single side) making up this 3-page document including the cover.The front cover contains a handwritten name in the top right-hand corner "Mrs Sinclair"sheet music, leonard nelson, fred hall, allan's popular sixpenny edition, bendigo, piano, songs and music, frederick fifield hall

Common Opal is a mineraloid that is non crystallising and is classed as an amorphous silicate, the chemical composition for Opal is SiO2 nH2O. Opals can develop in weathered sedimentary rock typical in arid regions where limited water enters small gaps in the rock, and the silicate is hydrated. Common opals, unlike precious opals, do not exhibit ‘play of colour’ in which the colour appears to change depending on the angle of view. While precious opals are highly valuable and cut as gemstones for jewellery, common opals can be cut into inexpensive gemstones and are also mined for various uses including as ingredients in ceramics, insulation, fillers, and abrasives. The source of this common opal specimen is unknown, but common opals are found around the world, notable deposits are found in Queensland, South Australia, New South Wales, Peru, Kenya, Nevada, Oregon, and Mexico. This common opal specimen is of historic and scientific significance due to its donation in 1868 as part of the Geological Survey of Victoria and as a typical example of uncut common opal. This specimen is part of a larger collection of geological and mineral specimens collected from around Australia (and some parts of the world) and donated to the Burke Museum between 1868-1880. A large percentage of these specimens were collected in Victoria as part of the Geological Survey of Victoria that begun in 1852 (in response to the Gold Rush) to study and map the geology of Victoria. Collecting geological specimens was an important part of mapping and understanding the scientific makeup of the earth. Many of these specimens were sent to research and collecting organisations across Australia, including the Burke Museum, to educate and encourage further study.A palm-sized amorphous (non-crystallising) hydrated silicate mineraloid specimen in shades of brown, orange, and white.Existing label: Common Opal / Locality unknowngeological specimen, geology, geology collection, burke museum, beechworth, common opal, opal, mineraloid, amorphous silicates, hydrated silicate

Edith (Alice) WATSON (1914–2010) Murtoa | Australia Alice Watson studied at the Ballarat Technical Art School (at the School of Mines, Ballarat) from 1930 until 1933. Watson sat several departmental exams, including drawing and painting plant forms from nature, lettering, Composition of Form and Colour and advanced General Design, as well as dressmaking and embossed leatherwork. Her folio applies many Australian native floral elements to design. Upon graduating, Watson taught at the Murtoa High School, living with her parents until their deaths in 1972 and 1988 when she was 74 years old. Alice Watson died in Ballarat, aged 95, having conserved her beautiful student folio, which was generously gifted to the Federation University permanent Historical Collection by the Watson family.Twelve drawings undertaken for the 'Drawing the Human Figure from Casts' class at the Ballarat Technical Art School. The works were undertaken by Edith Alice Watson. The full folio of work undertaken while Alice Watson was a student at the Ballarat Technical Art School is held by Federation University Australia.most are signed A.Watson 1932.edith alice watson, alice watson, ballarat technical art school, plaster cast, artwork, alumni, drawing the human figure from casts, visual arts

Edith (Alice) WATSON (1914–2010) Murtoa | Australia Alice Watson studied at the Ballarat Technical Art School (at the School of Mines, Ballarat) from 1930 until 1933. Watson sat several departmental exams, including drawing and painting plant forms from nature, lettering, Composition of Form and Colour and advanced General Design, as well as dressmaking and embossed leatherwork. Her folio applies many Australian native floral elements to design. Upon graduating, Watson taught at the Murtoa High School, living with her parents until their deaths in 1972 and 1988 when she was 74 years old. Alice Watson died in Ballarat, aged 95, having conserved her beautiful student folio, which was generously gifted to the Federation University permanent Historical Collection by the Watson family.A series of drawings undertaken by Alice Watson when she was studying "Drawing From the Plaster Cast" at the Ballarat Technical Art School. Some drawings are double sided.plaster casts, drawing, ballarat technical art school, alice watson, edith alice watson, alumni, visual arts

noombapee is an etching and lithograph by Gunditjmara and Keerray Woorroong artist Vicki Couzens. Couzens is a multi-disciplinary artist focused on strengthening her language and culture through research and creative projects. noombapee was created during a 2018 Collie Print Trust Printmaking Fellowship at the Australian Print Workshop. The work is an example of Couzens’ reclamation and celebration of Indigenous languages. The title is a Gunditjmara term which approximately translates to ‘have mercy’ or ‘forgiveness’. The word ‘noombapee’ appears multiple times in the lower right corner of the composition. The left side of the work includes a letter to the editor of the Warnambool Standard, dated 3 April 1940 and authored by Vicki’s ngapoon (paternal grandfather), Nicholas Couzens. Couzens explains that ‘he was an activist and advocate for our rights living on the Framlingham mission.’

Edith (Alice) WATSON (1914–2010) Murtoa | Australia The monogrammed initials on these buttons are for Alice Watson. Alice Watson studied at the Ballarat Technical Art School (at the School of Mines, Ballarat) from 1930 until 1933. Watson sat several departmental exams, including drawing and painting plant forms from nature, lettering, Composition of Form and Colour and advanced General Design, as well as dressmaking and embossed leatherwork. Her folio applies many Australian native floral elements to design. Upon graduating, Watson taught at the Murtoa High School, living with her parents until their deaths in 1972 and 1988 when she was 74 years old. Alice Watson died in Ballarat, aged 95, having conserved her beautiful student folio, which was generously gifted to the Federation University permanent Historical Collection by the Watson family. Two circular enamelled buttons with dark blue background and gold edging. The initials A W are the design feature. The A is white with gold edging and the W is red with gold edging. The reverse side is gold. They are contained in a small, green, octagonal shaped cardboard box. buttons, edith alice watson, alice watson, enamelled buttons, ballarat technical art school

Alice Watson studied at the Ballarat Technical Art School (at the School of Mines, Ballarat) from 1930 until 1933. Watson sat several departmental exams, including drawing and painting plant forms from nature, lettering, Composition of Form and Colour and advanced General Design, as well as dressmaking and embossed leatherwork. General Design examinations required only designs on paper, and not the full execution of an object (which was the case for Applied Design exams). Watson's folio applies many Australian native floral elements to design. Upon graduating, Watson taught at the Murtoa High School, living with her parents until their deaths in 1972 and 1988 when she was 74 years old. Alice Watson died in Ballarat, aged 95, having conserved her beautiful student folio, which was generously gifted to the Federation University permanent Historical Collection by the Watson family.Watercolour painting of a standing woman with short light brown hair, in a green striped sleeveless shirt, a dark green shorts, and green heels, she is at the beach and there are birds in the background.Watermark (1917 UNBLEACHED ARNOLD)alice watson, beach, cape, woman, ballarat technical art school, alumni

This is the cutting bit on the end of a drilling rod. It would have been used to drill holes into rock for placing explosives, for installing steel rock anchors, etc. In hard rock the bits need to be replaced regularly. Compressed air is blown through the holes near the tip of the bit to blow rock fragments out of the drill hole. The main drilling unit would have been powered by compressed air (Pneumatic). Rotary Air Blast Drilling. This drill bit was used by workers in the SEC Vic. Kiewa Hydro Electricity Scheme. This type of bit although strong needed replacing frequently when the rock composition (type of rock) was extremely compact. The configuration of the tip bit (four star like pattern) was to provide the "teeth" to tear into the rock. This bit was manufactured in 1949 however drilling for rock cores, in the Kiewa Valley and the Victorian Alps, was carried out from the late 1920's.This particular drill bit would have been used by construction workers to drill holes into rock for either explosives or for installing steel anchor points into the rock. The use of compressed air was not only for waste extraction but also for running the main drilling unit.This four star rotary air balst (RAB) drill bit has a central "blow" hole (compressed air outlet to remove the ground rock particles through four extraction holes). There are four raised cutting/grinding lugs which allows the air compression hole(incoming) to always have a clear unblock opening. Extracted ground material is "blown" out from the drill head via the larger hole created by the steel bit.Stamped on the bottom outside shank "FAGERSTA SECO SWEDEN" and below this "102 7041 01 05 049".sec vic kiewa hydro scheme, alternate energy supplies, drilling into rocks in alpine regions

Edith (Alice) WATSON (1914–2010) Murtoa | Australia Alice Watson studied at the Ballarat Technical Art School (at the School of Mines, Ballarat) from 1930 until 1933. Watson sat several departmental exams, including drawing and painting plant forms from nature, lettering, Composition of Form and Colour and advanced General Design, as well as dressmaking and embossed leatherwork. General Design examinations required only designs on paper, and not the full execution of an object (which was the case for Applied Design exams). Watson's folio applies many Australian native floral elements to design. Upon graduating, Watson taught at the Murtoa High School, living with her parents until their deaths in 1972 and 1988 when she was 74 years old. Alice Watson died in Ballarat, aged 95, having conserved her beautiful student folio, which was generously gifted to the Federation University permanent Historical Collection by the Watson family. A folio of thirty three drawings and paintings undertaken by Alice Watson at the Ballarat Technical Art School. The works include including the application of Australian flora to designs, including for pottery, leather and applique. .2) is a design for a table runner to be executed in richelieu work .3) frieze including fish .4) "Design for a border to be executed in stencil". 1932 .12) "Design on the waratah for a bowl to be executed in clay". 1932 .14) "Time test" .12) .17) .15) .18) show the combination of Australian flora with Art Nouveau-inspired designs .9) is a design for a wallet to be executed in raffia showing elevation, side elevation and plan views .11) is a design for a prayer book carrier to be executed in leather work .10) is an example of pencil transfer method of design seen on .11) .18) Design for a fan, image of birds and berries on a blue ground. .25) landscape illustration .27) "development" design based on a correa .29) "Design for a tea cosy based on the Cobia-Scanden to be executed in applique. 1931 (see also .31) .30) "Design for a writing tablet to be executed in embossed leather work and based on the native fuschia" (correa). 1931 .31) a completed doily holder: applique workMost are signed A. Watson 1931 .2) Paper is embossed with stamp of 'Goodall's Bristol Boards' stamp. (Crown depicted in centre) .20 and .22) Paper is embossed with 'Windsor & Newtons Bristol Board' stamp.(Griffin depicted in centre)ballarat technical art school, alice watson, flora, design, artwork, folio, art nouveau, alumni, leather work design, richelieu work, applique, doily holder, doyley holder, general design, edith alice watson

Edith (Alice) WATSON (1914–2010) Murtoa | Australia Alice Watson studied at the Ballarat Technical Art School (at the School of Mines, Ballarat) from 1930 until 1933. These works include commercial art, advertising and catalogue illustrations as well as figure construction and fashion-plate designs. Watson sat several departmental exams, including drawing and painting plant forms from nature, lettering, Composition of Form and Colour and advanced General Design, as well as dressmaking and embossed leatherwork. Her folio applies many Australian native floral elements to design. Upon graduating, Watson taught at the Murtoa High School, living with her parents until their deaths in 1972 and 1988 when she was 74 years old. Alice Watson died in Ballarat, aged 95, having conserved her beautiful student folio, which was generously gifted to the Federation University permanent Historical Collection by the Watson family. Commercial artA folio of Fashion Drawing by Edith Alice Watson of the Ballarat Technical Art School. .1) Two women dressed in fashionable clothing- lhs tan ensemble and hat; rhs fuschia ensemble with black and white accessories plus fur stole. Signed lrs A.Watson. 1933. .26) The image with three women wearing a hats. This appears to be an example of ticket writing. Signed lrs "A Watson- 2nd term. 1932." .35) The image with a woman wearing a hat appears to be an example of ticket writing. Signed lrs "A Watson--11th-7-32." .23) female figure drawing. Signed lrs A.Watson. 1st Term. 1932 .21) female figure drawing. Signed lrs A.Watson. 2nd Term. 1932 .17) drawing of lips, side view. Signed lrs A. Watson. 1931 .18) drawing of lips,three-quarter view. Signed lrs A. Watson .37) Paper is embossed with 'Windsor & Newtons Bristol Board' stamp.(Griffin depicted in centre)alice watson, ballarat technical art school, art, drawing, figure drawing, alumni, costume drawing, fashion drawing, ticket writing, 1930's fashion, indian ink, edith alice watson, figure construction, advertising, commercial art

Ventifacts are sand-blasted rocks that are typically faceted and often display parallel grooves carved by wind-blown sand. They are useful indicators of wind direction and strength in environments such as deserts, mountains, and coastal areas because they are usually not hidden by later sediment, soil or vegetation cover. In Antarctica ventifaction is strongly related to the composition or type of rock. Ventifacts are important because they provide evidence for abraders such as sand, dust or snow and ice crystals, and offer a unique understanding of past wind processes that are effective in the reconstruction of past wind flow conditions and can provides clues to weather and climate changes in the past. Interestingly ventifacts have also been found on the surface of Mars. They were a threat to the NASA rover due to the sharp angles of the facets, created by the Martian wind over the course of millions of years. These Martian ventifacts act like weathervanes for past wind and weather patterns on the red planet in a similar manner to those found on earth.The Geological Survey of Victoria was instigated in response to the Victorian Gold Rush which began around 1851 in the Beechworth, Castlemaine, Daylesford, Bendigo and Ballarat areas. The survey was conducted by Alfred Richard Cecil Selwyn from his arrival in December 1852 until his resignation in 1869and during this time he trained many notable geologists, e.g. Aplin, Wilkinson, Daintree, who went on to other State survey senior positions. This specimen was among those donated to the Burke Museum in 1868.A hand-sized solid mineral specimen in shades of dark and light browns with light lines visible in all configurations and a groove on configuration 2.light lines visible in all configurations and a groove on configuration 2burke museum, beechworth, geological, geological specimen, ventifact, antarctic region, antarctic, alfred richard cecil selwyn, alfred selwyn, wind direction, wind strength, abraders, wind flow, climate change, reconstruction of wind flow conditions, weather change, mars

A special plant track repair and goods recovery train proceeding to a cattle train derailment on the Balranald (NSW) line from which sheep had also escaped. The train composition was made up of J-Class steam locomtive J-502, a water gin carrying extra water for the train given doubtful supplies en-route, a wagon to reload the surviving sheep, a wagon containing track tools and equipment, a carriage for the work crew, a bogie wagon containing all the specialist tools for re-railing the train, followed lastly by the Guard's van. The specialist wagons and their equipment were based at the Bendigo Depot (see painted markings on van side) in a state of readiness for immediate use as the need arose The train is viewed approaching the Iron Bridge grade out of the Echuca rail yard. The Gatekeepers hut is visible on the right. The gatekeeper would be notified of the approaching train at which time he would open the gate to allow the train to pass through the Packenham Street level crossing.Digital TIFF file Scan of black and white print Enlargement prints on textured paper (15.5 x 20.5 cm)george coop collection, echuca, j-502, j-class steam locomotive (vulcan foundry)

A special plant track repair and goods recovery train proceeding to a cattle train derailment on the Balranald (NSW) line from which sheep had also escaped. The train composition was made up of J-Class steam locomtive J-502, a water gin carrying extra water for the train given doubtful supplies en-route, a wagon to reload the surviving sheep, a wagon containing track tools and equipment, a carriage for the work crew, a bogie wagon containing all the specialist tools for re-railing the train, followed lastly by the Guard's van. The specialist wagons and their equipment were based at the Bendigo Depot (see painted markings on van side) in a state of readiness for immediate use as the need arose The train is viewed approaching the Iron Bridge grade out of the Echuca rail yard. The Gatekeepers hut is visible on the right. The gatekeeper would be notified of the approaching train at which time he would open the gate to allow the train to pass through the Packenham Street level crossing.Digital TIFF file Scan of black and white print Enlargement prints on textured paper (15.5 x 20.5 cm)george coop collection, echuca, j-502, j-class steam locomotive (vulcan foundry)

Amazonite is classed as a Tectosilicate and is part of the Feldspar group of minerals. Amazonite forms in a triclinic crystal structure and its chemical formula is K(AlSi3O8). In appearance, Amazonite can range from shades of green to green blue to blue, and often with white streaks or veining. The greenish colour is believed to come from the small amount of lead contained in its composition. Amazonite is named after the Amazon River due to its colour and similarities to another rock found along the riverbanks, although Amazonite is not actually found at or near the Amazon. Although less commonly used in jewellery today, Amazonite has been mined and used by humans for thousands of years and Amazonite jewellery from at least 2000BCE have been discovered in North Africa. Amazonite is found in many locations around the world including Brazil, Peru, Ethiopia, Canada, Russia, Mozambique, Myanmar, Pakistan, China, Madagascar, and the United States of America. This specimen most probably comes from the U.S.A., Amazonite is found in several US states particularly in Colorado, Virginia, Pennsylvania. This specimen is of both scientific and historic significance as a striking blue green example of Amazonite mined prior to 1868 in the United States of America, most likely from Colorado, Virginia, or Pennsylvania. These three states are all locations of significant Amazonite deposits. This specimen is part of a larger collection of geological and mineral specimens collected from around Australia (and some parts of the world) and donated to the Burke Museum between 1868-1880. A large percentage of these specimens were collected in Victoria as part of the Geological Survey of Victoria that begun in 1852 (in response to the Gold Rush) to study and map the geology of Victoria. Collecting geological specimens was an important part of mapping and understanding the scientific makeup of the earth. Many of these specimens were sent to research and collecting organisations across Australia, including the Burke Museum, to educate and encourage further study.A palm-sized Feldspar mineral specimen from the Tectosilicate class in shades of blue-green with white veining.Existing label: green/blue Feldspar / "amazonite" / possibly USA geological specimen, geology, geology collection, burke museum, beechworth, tectosilicate, amazonite, feldspar, triclinic crystal structure, amazonite usa, amazonite colorado, amazonite virginia, amazonite pennsylvania

Malachite is a copper carbonate hydroxide mineral. It has a chemical composition of Cu2(CO3)(OH)2. It often forms within limestone where a subsurface chemical environment favourable for the formation of carbonate minerals can occur. It is a substance that can be found in many different parts of the world including: Australia, USA, Russia and the Democratic Republic of Congo. Malachite has historically been used to produce copper, with mining of the mineral dating back over a period of four thousand years. Due to its beautiful green colourations, it is also commonly used for aesthetic purposes such as in the production of sculptures and jewellery. This particular specimen was collected from the town of Burra, South Australia as part of a geological survey undertaken during the nineteenth century. The locality (located on Ngadjuri Country) has a long history of mining, particularly in copper mining, as the area is rich in copper deposits. The first significant discovery of this was made in Burra (Burra Burra Mine) in 1845 and, at the time, the mine was the largest and richest of its kind in the world, producing nearly five percent of the total world copper output. This specimen is significant as it is considered to be a rare gemstone, as many of the original deposits for the stones are significantly depleted, leaving behind very few sources. This specimen is part of a larger collection of geological and mineral specimens collected from around Australia (and some parts of the world) and donated to the Burke Museum between 1868-1880. A large percentage of these specimens were collected in Victoria as part of the Geological Survey of Victoria that begun in 1852 (in response to the Gold Rush) to study and map the geology of Victoria. Collecting geological specimens was an important part of mapping and understanding the scientific makeup of the earth. Many of these specimens were sent to research and collecting organisations across Australia, including the Burke Museum, to educate and encourage further study.A solid palm-sized copper carbonate hydroxide mineral with patterns of green colourations Existing Label: MALACHITE / Locality: Burra / S. Aust. Other Label: Confirmed / as Malachite / C. Willman / 15/4/1 / + Bill Birch burke museum, beechworth, geological, geological specimen, malachite, gemstone, green gemstone, burra, burra burra mine, burra south australia, carbonate mineral, copper, copper mining, copper mining burra, carbonate hydroxide mineral, copper carbonate, malachite mining, malachite burra, monster mine

The first classroom uses of large blackboards are difficult to date, but they were used for music education and composition in Europe as far back as the 16th century.The term "blackboard" is attested in English from the mid-18th century; the Oxford English Dictionary provides a citation from 1739, to write "with Chalk on a black-Board". The first attested use of chalk on blackboard in the United States dates to 1801, in a lecture course in mathematics given by George Baron. James Pillans has been credited with the invention of coloured chalk (1814); he had a recipe with ground chalk, dyes and porridge! The use of blackboards did change methods of education. Manufacturing of slate blackboards began by the 1840s. A green porcelain enamel surface was first used in 1930, and as this type of board became popular, the word "chalkboard" appeared. Various types of easel have been in use since ancient times, in particular for supporting paintings and other artwork. However, the schoolroom easel would have been introduced around the same time as when the blackboard started to be used in educational establishments. Wooden board painted black, resting on wooden easel with rope supporting the three easel legs.Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

One of a group of slides taken by members of the Society of built heritage in Kew in 1979-80. The selection of subject matter reflects the priorities of the period. The colour of some slides has degraded. This particular slide is of 'Fairholme' on the corner of Barry and Fellows Street. The building is listed by the National Trust (Victoria). The citation on the Historic Buildings Register states: 'Fairholme is of State architectural significance as a distinctive free Romanesque Revival residence. Built in two stages, 1889 for solicitor Edward Smart and early this century for importer, J K Meritt, the singular architectural character of Fairholme is achieved by combining window bays and groups of windows with a two-storey gabled porch. The deliberate and distinctively asymmetrical composition is emphasised by Art Nouveau pressed cement detailing (coprosma) on a bowed balcony and the two-storey timber verandah, which is typical of the Edwardian period. The architects were Reed, Henderson & Smart (1889) and C Gordon McCrae (c 1900-1). Internally a grand entry hall with inglenook, staircase and gallery follow the Arts and Crafts quality of the exterior. Classified: 17/03/1993'The slides represent a snapshot in time of built architecture in Kew, much of which has changed in the forty-plus period since they were created. 35mm colour transparency (slide) of 'Fairholme' (1889) on the north-east corner of the intersection of Fellows and Barry Streets, Kew. The photo was developed in May 1979.barry street -- kew (vic.), fellows street -- kew (vic.), historic houses -- kew (vic.), architects -- reed henderson & smart, architectural styles -- romanesque revival, j k merritt

Isaac Watts is most well-known as a Nonconformist hymn-writer. Many of his compositions are still in common use today and his Divine Songs, first published in 1715, is considered the first hymn-book for children. Watts’s non-hymnal writings include catechisms composed for children of various ages: the first set for children under seven years of age and the second set for children from seven to twelve years of age. Isaac Watts was the son of a schoolmaster, and was born in Southampton, July 17, 1674. He is said to have shown remarkable precocity in childhood, beginning the study of Latin, in his fourth year, and writing respectable verses at the age of seven. At the age of sixteen, he went to London to study in the Academy of the Rev. Thomas Rowe, an Independent minister. In 1698, he became assistant minister of the Independent Church, Berry St., London. In 1702, he became pastor. In 1712, he accepted an invitation to visit Sir Thomas Abney, at his residence of Abney Park, and made it his home for the remainder of his life. Watts died November 25, 1748, and was buried at Bunhill Fields. (Ref: hymnary web-site)This item is an example of an early religious text book for children.A small brown covered paperback book. Text on the cover is black - Improved Edition With Excercises ; The Second Catechism ; With Prayers and Graces for Children. There is also a gold paper bookmark.religious-text watts-isaac catechism

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At the beginning of the 20th century the toy industry was based predominantly in Germany. During the First World War, imports from Germany were banned and the British government instead encouraged toy-making in Britain, as it helped the economy and provided jobs for ex-servicemen. Around this time, English manufacturer E. A. Lott devised a new system of bricks suitable for assembling small buildings. Together with a cardboard roof and instructions, Lott started selling these bricks as Lott’s Bricks in 1918. Lott’s Bricks eventually became even more popular then Anchor blocks, which were produced on the same principles by Richter, the well-known German manufacturer of construction toys. Lott’s success was assured when Queen Mary bought a set from him at the British Industries Fair in 1918. A number of sets were later produced, each with its own series, including Modern, Lodomo and Tudor. The bricks were the last of the old-fashioned composition blocks, which were later superseded by the very different styles exemplified by Minibrix, Bayko and Lego. Lotts Brick’s Ltd ceased to exist in the 1960s. (Source: V&A Museum)Toy with model building materials in wooden box with manufacturers label on lid. Th label pictures a white brick house with two equidistant chimneys. Included in the box are blocks to be used in building the house. These are in different shapes and sizes. The roofing panels are preformed.Manufacturer information and description lott's bricks, toy blocks, construction toys

This bottle of liquid floor polish was manufactured before 1960(taken over by Wattyl) in a period when most of the floors in high traffic areas were covered in linoleum. Most of the floors using this product during this period would have been kitchens and laundries. During this period the cleanliness of the kitchen, hallways and eateries had to appear clean (cleanliness was a sign of a bacteria free area). This was a priority for kitchens, mess areas(SEC Hydro Scheme facilities) and connecting walkways. The cleanliness attitude was enhanced in the rural areas due to the "dirty" farm work not impinging upon the residential home.When Mount Beauty was first inhabited all the residential and worker's facilities were a prime area for linoleum floor surfaces. The liquid floor polish was in great demand, "a polished floor is a clean floor".This bottle of liquid floor polish is very significant to the Kiewa Valley, not only that it covers the floors of every home and residential barracks of the first major development of a "town" now known as Mount Beauty but also it demonstrates that the "cleanliness" approach of early Australians living areas in the rural regions was "on par" with its city cousins. It is the smaller types of mores that underlie the "mushrooming" cultural and psyche "wholeness" of an ever expanding Australian culture.This brown opaque glass bottle with an oblong shape has a blue coloured "screw on" cap. It has a "wrap around" label glued firmly on the bottle and covers the front and sides.On the front main label under a red line, "SPARTAN" underneath in smaller print "For use on" below this, "LINOLEUM, RUBBER, COMPOSITION AND HARDWOOD FLOORS" besides this is an encircled Trade Mark of a "Spartan Warrior holding a spear and shield" these word follow the curviture of the circle and are below it "TRADE MARK REGISTERED" Below this are "SUPER FLOOR GLOSS" to the left in very small print "Nett Contents 16 Fluid Ounces". Below this on a blue background and in white print"LIQUID FLOOR WAX WATER REPELLENT". On the bottom of the label "Made under licence by HARDIE TRADING LIMITED for SPARTAN PAINTS PTY, LIMITED" below this in small print "Melbourne, Sydney, Adelaide, Brisbane, Perth, Hobart, Launceston, Geelong. Embossed on the bootm of the glass is" G/Mfloor cleaners, liquid polish, "hygienic" clean floors.

Owned by Jean Young - born Falkirk, Scotland, 1811. Believed to be listed in Falkirk Census in 1851. Married William Hill. Possibly sailed in 'Tempest'. Died at Dunolly, Victoria.Black paper mache sewing work box. Lid inlaid with abalone. General design has been highlighted in gold paint. The box is lined with pale lilac and white satin, lid unlined. Top panel and bottom edge decoratively shaped - slightly domed lid and front panel decorated in a similar manner to lid. Box contains needles, threads, buttons, thimbles and a pin cushion as follows:- Peri-Lusta .03 Crystal Rayon Spun Mending Thread .04 Flora McDonald Needle Packet .0 |Packet of Needles W.Woodfield & Sons .06 Mauve satin needle case .07 Tortice tatting schuttle .08 Round wooden box with 5 pearl buttons and 2 cloth covered buttons .09 Square wooden needle case with red velvet lining and leather strip and brass clip .10 Round lace pin-cushion with very fine ecru crochet dark green lining .11 Unknown handle of black composition with bone end and four inlaid lines with dot at end ,12 Ivory stiletto with screw top. Total of 13 parts to the object.domestic items, sewing, handcrafts, equipment

http://www.clag.com.au/about/about.htm http://en.wikipedia.org/wiki/Clag_(glue) Clag was first trademarked in 1898 by Joseph Angus, manufacturer, of 216 Nicholson Street, North Fitzroy, Melbourne. The National Archives of Australia holds the original trademark application - a digitised version is available online (see References). The exact composition of the original paste is unknown but is thought to have been starch-based. Australian schools commonly request that parents purchase Clag paste for their children as part of the stationery lists that are circulated before each school year. The main reason for this is Clag's reputation for safety and ease of use. The bottle includes a brush recessed into the lid that children find relatively easy to handle, and the packaging does not contain any small components that children might swallow. The main ingredient of Clag is wheat starch dissolved in a water base, meaning that children can safely swallow the glue without incident It feels cold to touch and when applied to paper, it sometimes alters the colour of what is on it and causes paper to warp, owing to the high water content of the glue. There is an Australian slang usage of the word "clagged" derived from the characteristic of Clag Paste and can be used in place of the words, "clogged", "congested", "restricted" or "stuck". Bottle used for clag. The bottle has the original marking made by Angus P/l who trademarked the glue in 1898.Angus & Co Pty Ltd, ISM 12school, bottle, glue, clag, trademark, wheat starch

"No Sugar" was the winnning entry in the Expressions 2002; The Wool Quilt Prize. It was on exhibit at the National Wool Museum from 23 September to the 15 December 2002.Large green handstitched quilt with orange cross. (This picture shows the quilt on its side - it is displayed with the cross on the left and the darker area at the lower left.) Statement from Katherine Morrison regarding working technique and Expressions. Statement by Katherine Morrison regarding working methods and Expressions. CV of Katherine Morrison, Winner of Expressions 2002 Entry from 'Expressions 2002: The Wool Quilt Prize 23 September - 15 December 2002 National Wool Museum, Geelong', no.15. Article from New Zealand Quilter issue 28 'Featured Quilter: Katherine Morrison', page 1 (page 4 of issue) Article from New Zealand Quilter issue 28 'Featured Quilter: Katherine Morrison', page 2 (page 5 of issue) Article from New Zealand Quilter issue 28 'Featured Quilter: Katherine Morrison', page 3 (page 6 of issue) Article from New Zealand Quilter issue 37 titled '2 Women's Work', page 27 of issue Article from New Zealand Quilter issue 41 titled 'Rural Composition', page 21 Photo and explaination of Katherine Morrison's quilt 'Something Borrowed', made 1997"No Sugar" by Katherine Morrison 84 Blue Mountains road Silverstream upper Hutt New Zealand ph/fax 04 5288624 "NO SUGAR' 2002 An original quilt by Katherine morrison Hand dyed woollen (old) blankets handquilted QUILT CARE MADE WITH PURE N.Z. WOOL BATTINGquilting, blankets, new zealand

Ian Parry (born 1947) is a Melbourne-born artist living in Tasmania, active since 1974 and collected by National and State Collections. He was winner of the 1990 ACTA Maritime art Prize. He also took part in 2006, to the ANL Art Prize organised each year at the Mission since 2003. In his biography on his website: Ian Parry was born into a family of seafaring descent. His extensive career as a respected practising artist and teacher, has uniquely included a fishing fleet apprenticeship and years as a single handed fisherman in Bass Strait. "In the early 70's when I first showed at the renowned Powell St gallery in Melbourne, the paintings were large, abstract, with allusion to the experience of the world of water, sky and land. My visual world has always been permeated with the wet parts of this place and continues to be so to this day. Maritime and geological charts and the daily necessity of plotting a course, appear in paintings where necessary, as a means of getting a schematic representation of the subject into play, trying to free the work from the tyranny of the horizon line but frequently returning. Now-a-days I am returning to abstraction, making paintings that allow me free rein with colour and composition, aiming for a sense of permanence and independence in each work." Maritime ArtLarge moulded gilt wood frame, non glazed painting of shipping, oil on canvasSignature and date bottom right corner: "Parry 89"p & o nedloyd, shipping, melbourne ports, docklands, wharfside, wharves, ian parry, maritime art, acta maritime art prize, artwork-paintings

William Abendigo Thompson was English bare-knuckle boxer born in Nottingham, 1811- 1880 and whose name is (allegedly) borne by the City of Greater Bendigo. One of 21 children he started fighting aged 18 and began prizefighting aged 21. His career spanned from 1832–50, and is said to have lost only one fight. Later in life, after spending time in prison he became a Methodist evangelist preacher. While the artist and date of production of this work are unknown the initials JJLh (or n?) are just legible lower right on canvas. Other clues for an approximate date of creation include the similarity in composition of this painting to a popular aquatint of Bendigo by Charles Hunt Senior (1803 - 77). Based on the markings on the back of the canvas for Rowney and Co and the address given, we can ascertain that the canvas itself was manufactured between 1884 - 1896. The painting also includes an extract of the Conan Doyle poem 'Bendigo's Sermon' which was written in 1911. Given these three factors, a date for the painting can be surmised as post 1911. Stretched made by George Rowney’s is one of very few artists’ supply businesses with origins in the 18th century still trading today, as Daler-Rowney, albeit no longer in family hands. The business has been a significant supplier of canvases and panels from the 1810s. Naive, Primitive, British0348.1 Framed oil painting of the bare fisted knuckle fighter William Abendigo Thompson painted in a naïve style. Depicts Thompson, bare chested in an outdoor fighting ring with his fists raised with a water bucket at this feet. 0348.2 Typed note re the history of the naming of the City of Bendigo.Top centre front of painting; You didn’t know of Bendigo? That knocks me out! Who’s your board school teacher? What’s he about? Chock a block with fairy tales – full of useless cram And haven’t heard o' Bendigo the pride of Nothin’ All sing along together lower centre painting; William Abendigo Thompson centre Inner wooden frame; bendigo back of canvas; Geo. Rowney & Co 64 Oxford Street and Princes Ball Piccadilly London W sticker lower centre back of frame; donors name and address. Initials illegible lower right.city of greater bendigo sport