Stained glass window from the Principal's Residence, Burnley (demolished 1980.)Stained glass window in the Art Nouveau style with country scene and cottage depicted in the centre panel surrounded by border panels. Wooden framed lead light panels and painted centre glass piece with two brass mounting brackets. stained glass window, principal, burnley, art nouveau, principal's residence, decorative arts, artifact

Four copies held - second copy has been hand cleaned and polished.Demonstrates a MMTB sign advising passengers not to alight on the wrong side of the tram.Sign - engraved brass sheet, with black lettering and lining on the outside and screw holes in each corner with the words. "To stop car pull left hand cord ONCE / Entering or leaving this car from the wrong side is prohibited. Maximum penalty L5." L = pounds copy 1 - Scratched into rear "I 3" Copy 4 has a label on the rear "Ex W2 268".trams, tramways, signs, tramcars, tramways, passengers

Wall hanging is made of woollen scarves from schools in Latvia, Romania, Argentina, the Shetland Isles, Japan, Lithuania and Australia. It was made by participants of the Children of the World Longest Hand Knitted Scarf project.Wall hanging made from scarves from Australian and European school children, participants of the Children of the World Longest Hand Knitted Scarf project, coordinated by Lara Primary School.Dace Latvia Romaniaknitting

Braille hand frames and styluses were the primary way to produce Braille for over a century. The stylus was used to make a separate indentation for each dot, and the hand frame to keep dots within the same cell. Braille rows are produced from right to left. The process was very time consuming. Volunteer transcribers for the library could take an average of ½ hour to produce one page of Braille using this method. For example: “Oliver Twist” required approximately 600 sheets equating to 300 hours of work! Various metal hand frames accompanied by a metal stylus with wooden handle. Some include a wooden slate, which was used to make the system portable as a firm base was needed to sustain puncture pressure. The frame can also be slotted into both sides of the slate, thereby ensuring that the lines of Braille were straight across the page. Transcribing maths was an extremely complex task and a metal grid was utilised to reproduce graphs and diagrams.1 wooden hand frame with metal grid and metal and wooden stylus, 1 metal maths grid with metal pegs in metal container inside a brown suitcase and numerous sheets of Braille paperT.C. Coughlin 5 doz sausage rolls Wilmington Southend is written inside the lid of the suitcasebraille equipment, james murphy

A Hand-Book to the Marsupialia and Monotremata Allen's Naturalist's Library Author: Richard Lydekker Publisher: W H Allen & Co Date: 1894 Label on spine cover has hand written text - 599 LYD Pastedown front endpaper has sticker from Warrnambool Mechanics Institute and Free Library Fly page has a stamp from the Warrnambool Public Museum warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, book, warrnambool mechanics’ institute, a hand-book to the marsupialia and monotremata, allen's naturalist's library, richard lydekker

Hardcover book, 224 pages. Book has a blue cover. Colour image of a man resting his hand on the head of a woman laying across his lap on front cover. Dustjacket has been removed, title and author's name written in white ink on spine.fictionRomance novel.valentine, romance, fiction

Yields information about Ballarat 's No. 23 operating as the Gold Tram in 1951.Copy negative of a black and white photograph from Ray Pearson Collection, taken by Dave Macartney in 1975c of a No. 23 painted as the Gold Tram in 1951, at the corner of Sturt and Lydiard St, looking south east. See also Reg item 4185 Image updated from a scan from the Ray Pearson Album 30/5/2020.trams, tramways, sturt st, gold tram, gold, centenary of gold, decorated trams

Newspaper cutting from The Age 7/10/1982, titled "End of the line is near for Melbourne's painted ladies" written by Jane Sullivan, about the withdrawal of tram 439 and others being phased out. Quotes Phillip Adams, Steve Crabb, Clifton Pugh, Mirka Mora. Gives the story to the background of the Transporting Art project.trams, tramways, transporting art, w2 class, arts victoria

This wooden board has hinged flap to allow paper to be inserted, and two tacks under on the lower part secure the paper. The top flap is then closed and a metal clasp holds it firmly in place. A row of holes either side of the board, allow for a hand frame to be attached, to guide the writer in maintaining straightness when transcribing.Wooden rectangular Braille hand frame with holes evenly spaced and built in hinged paper clamp. Pivoted metal Braille guide with two rows of Braille, each 25 cells long. 'Armitage memorial' pressed into framebraille equipment, association for the blind

Newspaper clipping from The Age 2/6/1986 titled "Artists to put 20 painted trams on the track", about the launch of the 2nd series of Transport Art trams by Transport Minister Tom Roper and Arts Minister Mathews. Features a photo by Bruce Postle of the Minster Roper and school children. Gives details of the program. Article by Fiona Ahtersmith.trams, tramways, transporting art

Braille hand frames and styluses were the primary way to produce Braille for over a century. The stylus was used to make a separate indentation for each dot, and the hand frame to keep dots within the same cell. Braille rows are produced from right to left. The process was very time consuming. Volunteer transcribers for the library could take an average of ½ hour to produce one page of Braille using this method. For example: “Oliver Twist” required approximately 600 sheets equating to 300 hours of work! This wooden slate, which was used to make the system portable, served as a firm base needed to sustain puncture pressure. The frame can also be slotted into both sides of the slate, thereby ensuring that the lines of Braille were straight across the page. The metal clasp at the top of the frame held the wooden which kept paper from slipping.Brown plastic rectangular hand frame with holes evenly spaced on either long side. Hinged Braille metal guide with space for 2 rows of Braille, each 35 cells long. braille equipment, rnib

Poster titled "Melbourne's Painted Trams" with subtitle "Transporting Art", printed on one side of a single sheet of art paper, then folded in half, then folded in concertina style (6 panels), featuring the 15 Melbourne W2 class tramcars that were painted in the years between 1978 and 1982. Provides notes on the artists, their thoughts on the projects and details of the project. Sponsored by the Victorian Ministry for the Arts and Ministry of Transport. Notes that 14 of 15 trams had reached the end of their working lives and were to be auctioned on 7/12/1986, that No. 504, Clifton Pugh was to be donated to Museum of Victoria and that a new series of 20 painted trams were being sponsored. Poster prepared by Malpass and Burrows of the Design group with photographs by Stephen Hall and Regina Grant. Decorated trams, artists. Features trams and artists 525 - Les Kossatz 243 - Mirka Mora 504 - Clifton Pugh 503 - John Nixon 497 - Erica McGilchrist 567 - Peter Corrigan in 1978 and repainted by Paul Mason in 1982. 345 - Gareth Sansom 384 - Howard Arkley 234 - Andrew Southall 336 - Mike Brown 444 - Trevor Nickolls 502 - Rosemary Ryan 340 - Don Laycock 607 - Craig Gough 439 - Stewart Merrett 2nd copy added 2/6/15. Electric Traction, August 1979, page 135 has noted on the removal of the Japanese flags on tram 567 by artist Peter Corrigan.trams, tramways, transporting art, decorated trams, exhibitions, melbourne

Colour postcard of Melbourne tram all-over advertising or decorated tram W6 909, painted for the centennial of electric trams in Melbourne with Flinders St Station in the background. Tram operating a City Circle Service, October 2006. Photo by Earl Ewers. Postcard produced by Railcard for the Association of Railway Enthusiasts, ARE No.14/07. Has ARE logo, shop details and hours, space for small message, address and stamp.trams, tramways, melbourne, advertising trams, decorated trams, flinders st station, centenaries, 100 years of electric trams, route 35, city circle, tram 909

Pamphlet titled "Melbourne's Painted Trams" with subtitle "Transporting Art", printed on one side of a single sheet of art paper, then folded in half, then folded in concertina style (6 panels), featuring the 15 Melbourne W2 class tramcars that were painted in the years between 1978 and 1982. Provides notes on the artists, their thoughts on the projects and details of the project. Sponsored by the Victorian Ministry for the Arts and Ministry of Transport. Notes that 14 of 15 trams had reached the end of their working lives and were to be auctioned on 7/12/1986, that No. 504, Clifton Pugh was to be donated to Museum of Victoria and that a new series of 20 painted trams were being sponsored. Poster prepared by Malpass and Burrows of the Design group with photographs by Stephen Hall and Regina Grant. Decorated trams, artists. Features trams and artists 525 - Les Kossatz 243 - Mirka Mora 504 - Clifton Pugh 503 - John Nixon 497 - Erica McGilchrist 567 - Peter Corrigan in 1978 and repainted by Paul Mason in 1982. 345 - Gareth Sansom 384 - Howard Arkley 234 - Andrew Southall 336 - Mike Brown 444 - Trevor Nickolls 502 - Rosemary Ryan 340 - Don Laycock 607 - Craig Gough 439 - Stewart Merrett Images 1 of the poster folded out, 2 of the front cover and 3 of trams 504 and 345. 2nd copy added 7-2-2016 from the collection of Ian Stanley. See Reg Item 7017 for a framed image of a poster produced from the first page or cover page of this poster.trams, tramways, decorated trams, transporting art, melbourne

Unknown1 X steel hand chisel with wooden handle 1 X steel hand gimlet with wooden handleChisel - nil gimlet - WFS, ? Keep & Sonhand tools, carpentry, wood work

Copy of a formal photograph showing head and shoulders of Thomas Hand, 1839-1888. This photograph has a detailed inscription on the back handwritten by John Lundy-Clarke in 1974.Thomas Hand 1839-1888 Surveyor for Upper Yarra Road Board 1862-1872. Engineer for Shire of Lillydale 1872-1888. Father of Kate, Eva, Eliza, Florence, Mabel, Alice, Frederick and William. Married Eliza Erith 1862. Owner of “Mountain Grange” in the present district of Kalorama. Copy of photograph in possession of his daughter Mabel made by JLC in 1974. thomas hand, mountain grange

A hand-painted slide from c.1900 depicting a circular image of 11 goldfish swimming around the words 'Good Night'. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and Woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniquesThis glass slide is significant because it provides insight into early photographic and film-making technology in use in regional Victoria during the late 1800s and early 1900s.Thin translucent sheet of glass with a circular image printed on the front and hand-painted in shades of orange, red, blue, and green.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, fish, hand-painted, good night, 1900s

The British Arts and Crafts Movement was a major influence on handcrafts made by the Leviny women at Buda. This Movement spread knowledge of craft techniques in the decorative arts and encouraged women to partake in fields that had traditionally been the domain of men, such as metalcraft and woodwork. The Leviny women studied art, design and craft techniques at the Castlemaine School of Mines from the 1890s to the early 1900s and this boot stool, hand-carved by Gertrude, is an example of the influence of the Arts and Crafts Movement on her decorative art. See: Zilles, Lauretta (2010), Buda and the Leviny Family, Castlemaine: Buda Historic Home & Garden Inc.This is a rare example of a unique hand-carved boot stool made in Australia by Gertrude Leviny in the British Arts and Crafts Movement style at the turn of the twentieth century.Timber boot stool, hand-carved by Gertrude Leviny. Made using the 'chip carving' technique, with dragon heads on upright at one end, and plant design in relief on the seat. Timber finish has a blackened effect.'K/40' (Old Registration Number)gertrude leviny, wood carving, arts and crafts movement, buda, castlemaine, dragon's heads, c1900, domestic furniture, castlemaine school of mines

Carved by an elderly Cockatoo resident and given to the history and heritage groupWooden hand carved walking stickCarved wooden walking stick, snake entwined down the full lengthwalking stick, cockatoo, carving, snake

Rear of microphone stamped with Made In U.S.A 1700U Univ.Micro Co.Inglewood Calif.

Part of Woolcock Gallery Collection Exhibition, CEMA, 1989.Studies of stem and details of a plant. On left is a study of a stem with short, narrow leaves (in clusters of 2 or 3) and pink flowers, with large pale pink petals and a darker centre. On the right are detailed studies with typed letters affixed to the paper surface. "b1" is a front view of a flower. "b2" is a side view of a flower. "c" is a leaf and stalk detail. "d" is a seed detail. "b3" is a back of flower view. On far right are erased letters in pencil, and one also on the left next to a typed "a". Mounted in a double matt (pale grey on mauve) in glazed timber frame with gold paint.Front: Burtonia scabra (lower right) (pencil) CEW (signature, lower left of image) (mauve pencil) Back: (no inscriptions)cema, botanical, collin woolcock, botanical drawings, woolcock, woolcock collection

A wooden plane is entirely wood except for the blade. The iron is held into the plane with a wooden wedge, and is adjusted by striking the plane with a hammer.Oblong timber hand plane with handle and metal blade. tools, plan, woodworking

Alloy clock hand with a circular plate and pointed tip. archaeology, historic building, former royal mint

The design of this set of four lightweight chairs is based on Thonet’s bentwood designs, which are still some of the best-selling designs for café and restaurant owners. It is elegant, sophisticated and durable. Some of these chairs still have their original seat, under which the letters “TH” or “RSL” are hand written. Flagstaff Hill has several bentwood chairs with these letters on them, in either chalk, black paint, or both. It is believed that the chairs were used in the original Warrnambool Town Hall, and later the RSL. The Town Hall was completed in 1891, built on the corners of Timor and Liebig Streets. (In 1977 the Town Hall was declared unsafe and was later replaced by the Warrnambool Performing Arts Centre.) Some of the chairs have marks, paper labels and symbols on them that show that the maker was Josef Jaworek, who had a small furniture factory in east Sinensia, which was at that time in Austria, from 1907 - 1914. Bentwood chairs are made by a process of wetting wood in water, bending it into curved shapes, then allowing it to dry so that the shape becomes permanent. This process originated by Michael Thonet, who had been given the right to bend wood into desired curves by the Austrian Courts in 1842. In 1856 he was granted a 13 year patent to manufacture chairs and table legs of bent wood treated by steam or boiling water. In 1859 his company Gebruder Thonet produced his original design. Thonet’s early designs also featured hand carved or laminated wooden seats. His Model No. 14 was produced in the 1850’s and his most popular design. After Michael’s death in 1871 the family went on designing and producing chairs. These bentwood chairs are believed to be associated with the original Warrnambool Town Hall. The Warrnambool Town Hall played a significant role in the both the local government and the social events of local and district areas. It was a place for Council meetings, community events and entertainment, theatrical and musical.Bentwood chair (1 of 4), painted black, inner back is curled loop. Seat is padded leather, attached by studs. Splayed legs. Patterned ventilation holes under seat. Under seat are various Marks; hand painted, printed on small piece of paper, stamped in wood.Under seat are various Marks; hand painted in black "TH", printed on small piece of paper "400", stamped in wood "400" flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, bentwood chair, café chair, restaurant chair, josef jaworek, austrian chairs

Part of the Leo Reoch Cohn Collection. See Catalogue No. 5527.2 for his service record.Darl brown canvas duffle bag with rope drawstring threaded through brass eyelets. Bag has a number of hand painted labels on the outside.Hand painted on the bottom of the bag in white and orange: ' 1039, VIC'. Hand painted on the side of the bag in white and orange: 'L. COHN, 1039, No 1 L.C. PATROL'.equipment, duffle bag, leo reoch cohn

This knitting pattern book was published by the Villawood Textile Company, Sydney and contains knitting patterns for womens and mens knitted garments. Interestingly, TV and theatre personalities have been used as well as high fashion models.Hand Knits / by / Villawool / 2nd EDITION / 3'9knitting handicrafts - history, villawood textile company, knitting, handicrafts - history

Yellow card front and rear covers, with Black Plastic ring Binding Wonga South End Hand Written Notes.stawell gold mining

thelma Wieland went to live in Queensland with her daughter ,Pat , and son-in-law Don Talbot. They started a pig farm but there was some friction between the families and Thelma left and returned to live in Ballarat. Her son Ray lived with her in Queensland.3 lined pages of hand written poetry, by Thelma Wieland.

Front view of the house with Mrs Eliza Hand and a daughter on the verandah.eliza hand, mountain grange