Large caste iron wheel on which two knife cutters are fitted - hand rotated - material to be cut is fed through a canter-levered wooden box - reduction gears are used to ease the effort for the person operating it. All of this is mounted on a caste iron frame. Capable of cutting 'I/2 . 1/2 Chaff'|Similar one sold by Welch, Perrin & Co P/L in 1929 for 8 pound .The 'Bentall' Chaff Cutter moulded on the reduction gear cover. 'Bentall Improved (or Patented?) Chaff Cutter 913 Heybridge, Maldon, England' - on the body and wheel.rural industry, livestock

Very Old. Until the end of the 19th century the bodies of jack planes were predominantly wooden, typically made out of beech (wood). Wooden planes were largely superseded by iron-bodied planes.Used by carpenters and cabinet makers in the Kiewa Valley from the late 1800s and the early 1900s.A Jack Plane is a general purpose woodworking bench plane, used for dressing timber down to size in preparation for truing and/or edge jointing. It is usually the first plane used on rough stock, but for rougher work it can be preceded by the scrub plane. German Pattern Jack Plane. The smallest - 1.5 inches. Ref. Page 21 - Tools for all Trades Catalogue 1930s?"The Burgham Tools Company / Solingen Germany"woodworking tool, jack plane, plane

Lists the work carried out by the SEC on tram No. 16. Includes notes on the tram itself, body, brake gear, electrical, and truck. Generally, only significant work is listed. Details the sale of the body in 1956Demonstrates the SECV practice of maintaining records for the work on the tramcars in Ballarat.Foolscap ruled sheet with stamp tram car number and work category, typed or handwritten entries.tramways, tramcars, ballarat, sec, tramcar maintenance, records, tram 16

This jar is of interest as it is one of the few items we have connected to the early 20th century Warrnambool business of Charles Morris.This is a stone demijohn with a cream-coloured base and body and a brown top. The circular opening is chipped on the edge and has no stopper. The side handle is broken off. C.W. Morris Warrnambool charles morris store, warrnambool, history of warrnambool

Thomas Redford came to Warrnambool in 1864 and worked in the produce store of his uncle, Frederick Stevens, a business that had been established at the corner of Fairy and Timor Streets in 1857. In 1879 Thomas Redford became the proprietor of this business under the trading name of T. Redford and Co. Thomas Redford was a noted sportsman in Warrnambool (cricket and football) and a Town Councillor from 1884 to 1890. One of his sons, Thomas, was a Major in World War One and was killed in 1915 in the Battle of the Nek. The business of T. Redford and Co was continued after Redford’s death in 1907 by family members and ceased to trade in the early 1920s. This demijohn is of interest as it came from the business of T. Redford & Co, a business operating in Warrnambool for over 40 years. This is a stoneware demijohn with a beige-coloured base and body and a brown neck and opening. The circular opening is chipped on the edges. The name of the seller of the contents is on the opening section.‘T. Redford & Co. Warrnambool’redford family, warrnambool, t. redford & co. warrnambool

A colour photograph of a sculpture in Bruno's Art & Sculptures Garden in Marysville in Victoria.A colour photograph of a sculpture in Bruno's Art & Sculptures Garden in Marysville in Victoria. Bruno's Sculptures Garden is one of Marysville's popular attractions. There is a sculpture garden as well as a gallery of artworks. Both the garden and gallery were destroyed during the 2009 Black Saturday bushfires. Some of the sculptures were totally destroyed though a few did survive the fires. Bruno made the decision to re-sculpt the lost sculptures and re-built his gallery and re-open his garden to visitors to Marysville.bruno torfs, gardens-design, marysville, victoria, sculpture, australia, sculpture garden, sculptors, bruno's art and sculptures garden, 2009 black saturday bushfires, photograph

Photo is of Victoria Valley with Moora Moora Reservoir and the Victoria Range in the background. Photo would have been taken from around Reed's lookout area. Photo typical of promotional photos of the time by Forests CommissionLarge, densely treed valley with a body of water in background. Some roads can be seen particularly right foreground. There is a mountain range in the background. c1960sscenery, grampians ranges

Part of the Uebergang Collection. The ewer sits in a matching bowl and would have been used for ablutions in the bedroom. It has a matching bowl, soap dish and toothbrush holder..Large ewer with green rim and cream body decorated with swirling green stripes. The handle is green at the top changing to cream at the bottom. The interior is cream.1796.1uebergang, toilet sets, ablutions, bedroom sets

This stone axe was given to George Nelson as a prize for winning the Stawell gift.This stone axe has a cutting edge smoothed to a sharp arc and the body of the stone has concave depressions formed by stricking during the shaping process.stone axe

OIL LAMPS Oil had been burnt in lamps at least since the Palaeolithic age, and the cheapest light fittings used in Victorian homes had changed little since then, with a simple wick protruding from a small container of whale oil or vegetable oil. However, much brighter and more sophisticated lamps had emerged late in the 18th century, the most important being the Argand oil lamp. This lamp had a broad flat wick held between two metal cylinders to form a circular wick, with air drawn through it and around it. This in itself was a revolutionary idea, but its inventor, Aimé Argand also discovered that by placing a tube or 'chimney' over the flame, the hot gases from the flame rose rapidly creating a draught and drawing air in from below. Fanned by a draught from both inside and outside the circular wick, the poor spluttering flame of early lamps was transformed into a bright, efficient light source (see illustration). The one disadvantage for the Argand oil lamp and its many imitators in the early Victorian period was that the best oil then available, colza, was so thick and viscous that it had to be fed to the wick either by gravity from a reservoir above, or pumped up from below. Most colza oil lamps have a reservoir often shaped like a classical urn to one side which in some fittings obstructed the light. The Sinumbra lamp got around the problem by having a circular reservoir around the base of the glass light shade. One of the most significant improvements of the Victorian period was the introduction of paraffin. Patented in 1850, the price of the new fuel fell dramatically following the discovery of oil in Pennsylvania, USA. As paraffin was much lighter than colza the reservoir could be placed below the flame, enabling many new designs of light fittings. One of the most successful paraffin lamps was the Duplex burner introduced in 1865 which had two wicks side by side and, like the Argand lamp, a clear glass chimney with air drawn from below. Most lamps also had a larger shade around the chimney often of opaque glass to diffuse the light. The shades or diffusers provided an opportunity for decoration, and a variety of shapes, colours and patterns were used. The amount of light which can be produced by a wick is limited by the surface area of the wick and the amount of fuel and air able to reach it. As fuel burns at the tip of the wick only. The gas mantle, on the other hand, provides a much larger three-dimensional surface, and is far more effective as a result. Invented by Carl Aur von Wesbach in 1885, the incandescent mantle was the last major breakthrough in oil and gas lighting of the period, before both succumbed to electric lighting. The mantle consists of a skirt of silk or cotton impregnated with a non-inflammable mixture (thorium and cerium), suspended over a fierce flame. When first ignited, the cotton burns away leaving fine, brittle filaments of non-combustible material in its place which glow white hot or 'incandescent'. The mantle works best with either gas or a fine mist of paraffin produced by a pressurised reservoir which is still widely used in camping lamps today, producing a bright, warm light to rival an electric bulb. https://www.buildingconservation.com/articles/lighting/lighting.htm http://www.artandarchitecture.org.uk/stories/lighting/lighting4.html#:~:text=Oil%20had%20been%20burnt%20in,whale%20oil%20or%20vegetable%20oil.An item of great importance in any home before gas or electricity was available.Kerosene lamp, ceramic, with metal top and wick. Has handle at side and floral hand painting around the body. Glass cover. Metalwork is rusty.Noneflagstaff hill, warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, oil lamp, heating, lighting, ceramics

Plane Jack type maker Stanley with brass body and lever cap, wooden handles and steel irons. Has GTL stamped on blade mechanismflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, plane

Port of Portland Authority archivesFront: (no inscriptions) Back: Lady Bay Reclamation (Pivot site)/ 1960 (pencil, upper left)port of portland archives, lady bay, reclamation, 1960s

Port of Portland Authority archivesFront: (no inscriptions) Back: Lady Bay Reclamation (Pivot site)/ 1960 (pencil, upper left)port of portland archives, lady bay, reclamation, 1960s

Port of Portland Authority archivesFront: (no inscriptions) Back: (no inscriptions)port of portland archives, lady bay, reclamation, 1960s

Port of Portland Authority archivesFront: (no inscriptions) Back: Lady Bay Reclamation (Pivot site)/ 1960 (pencil, upper left)port of portland archives, lady bay, reclamation, 1960s

Port of Portland Authority archivesFront: Lady Bay Reclamation: Dumping of surplus overburden in Lady Bay/ Jan. 1960 (typed below image, centre) Back: (no inscriptions)port of portland archives, lady bay, reclamation

Port of Portland Authority archivesFront: (no inscriptions) Back: Lady Bay Reclamation (Pivot site)/ 1960 (pencil, upper left)port of portland archives, lady bay, reclamation, 1960s

Port of Portland Authority archivesFront: (no inscriptions) Back: (no inscriptions)port of portland archives, reclamation, lady bay

Port of Portland Authority archivesFront: (no inscriptions) Back: Lady Bay Reclamation (Pivot site)/ 1960 (pencil, upper left)port of portland archives, lady bay, reclamation, 1960s

Port of Portland Authority archivesFront: (no inscriptions) Back: Lady Bay Reclamation (Pivot site)/ 1960 (pencil, upper left)port of portland archives, land reclamation, lady bay

Port of Portland Authority archivesFront: (no inscriptions) Back: Lady Bay Reclamation (Pivot site)/ 1960 (pencil, upper left)port of portland archives, lady bay, reclamation, 1960s

Port of Portland Authority archivesFront: (no inscriptions) Back: Lady Bay Reclamation (Pivot site)/ 1960 (pencil, upper left)port of portland archives, lady bay, reclamation, 1960s

Squat china vase with 3 feet, fluted opening, blue top and handles with gilding on body and decorated with green vine leaves and red grapes.domestic equipment, ornaments, vase

Small squat china vase with fluted opening, blue top, feet and handles, gilded decoration, white body decorated with vine leaves and grapes.domestic equipment, ornaments, vase

Object. Black and white plastic toy mouse. White face, black ears. Open mouth. White shoes. Black body. Black tail.toys, dolls, toy mouse.

Final report from this body, looking at the effectiveness of Language maintenance programs, a systematic approach to language loss, nature of relationship between languages etc.literacy, language education

White jug shaped with basin at top with hole in middle. Large spout into body of bowl. Handle at rear. Cream with gold trim around top.Made in Englandpersonal effects-toilet requisites, shaving, domestic items, ablutions