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Flagstaff Hill Maritime Museum and Village
Tool - Moulding wood Plane, Mid to Late 19th Century
A moulding plane is a specialised plane used for making the complex shapes found in wooden mouldings that are used to decorate furniture or other wooden objects. Traditionally, moulding planes were blocks of wear-resistant hardwood, often beech or maple, which were worked to the shape of the intended moulding. The blade or iron was likewise formed to the intended moulding profile and secured in the body of the plane with a wooden wedge. A traditional cabinetmakers shop might have many, perhaps hundreds, of moulding planes for the full range of work to be performed. Large crown mouldings required planes of six or more inches in width, which demanded great strength to push and often had additional peg handles on the sides, allowing the craftsman's apprentice or other workers to pull the plane ahead of the master who guided it. John Moseley & Son: Records indicate that before 1834, the firm is listed at number 16 New Street, London and according to an 1862 advertisement the shop had been established in New Street since 1730, The Sun insurance records from the time show that John Moseley was the possessor of a horse mill in the yard of his premises, which means that some kind of manufacturing was taking place, as the mill would have provided power to run a saw or perhaps a grinding wheel so the probability is that he did not just sell tools, he made them as well. John Moseley died in 1828 and his will he names his four sons: John, Thomas, William and Richard. To complicate matters he also had brothers with the same first names; brothers Richard (of Piccadilly) and William (of Peckham Rye) are named as two of the executors. Brother Thomas is not mentioned in this will, but became a minister and was one of the executors of brother Richard’s estate when he died in 1856. From John’s will, we also learn that, although the shop was in New Street, he resided in Lympstone, Devon. The family must have had a house in that county for quite some time as both sons Richard and William are baptised in Devon, although John and Thomas were baptised in London. In the 1841 and 1851 census records, we just find William in New Street, but in 1861 both William and Richard are listed there as toolmakers. That Richard was staying overnight at New Street was probably just accidental as in 1851 and 1871, we find him with his wife Jane and children in Clapham and Lambeth respectively. In 1851 Richard is listed as “assistant clerk cutlery warehouse” and in 1871 as “retired plane maker and cutler”. Although the actual place of work is not stated, one may assume he worked in the family business. 1862 is a year full of changes for the firm. In that year, William had a new property built at 27 Bedford Street. In the catalogue for the 1862 International Exhibition, 54 Broad Street (later 54-55 Broad Street) is listed for the first time, which may very well coincide with the split of the business into a retail and a wholesale branch. Around the same time, they must have moved from New Street to 17 & 18 King Street because their manufacturing premises had been pulled down to form the New Street from Cranbourne Street to King Street. In January 1865, William died and Richard continued the business. In 1867, the partnership he had with his son Walker and Thomas Elis Hooker, is dissolved. Richard continued tool making at King Street and Bedford Street. Richard retired somewhere between 1867 and 1871, but the business continued. The business is taken over by W M Marples & Sons and tools continued to be made in London until 1904 when manufacturing relocated to Sheffield. A vintage tool made by a well documented company, this item was made commercially for firms and individuals that worked in wood and needed a tool that could produce a ornamental finish to timber. The tool was used before routers and spindle moulders came into use after World War ll, a time when to produce a decorative moulding for a piece of furniture, door trims etc or other items had to be accomplished using hand tools and in particular one of these types of planes. These profiled planes came in various shapes and sizes to achieve a decorative finish. A significant tool from the mid to late 19th century that today is quite rare and sought after by collectors. It gives us a snapshot of how furniture and other decorative finishes were created on timber by the use of hand tools. Tools that were themselves hand made shows the craftsmanship used during this time not only to make a tool such as the subject item but also the craftsmanship needed to produce a decorative finish that was needed to be made for any timber item. Wood Moulding Plane J Moseley & Son maker also stamped (Previous Owners) HIT & E Dunstan, RA Dixon with an N inside a W flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, plane moulding, moulding plane, plane, j heath, moseley -
Flagstaff Hill Maritime Museum and Village
Tool - Moulding wood Plane, Mid to Late 19th Century
A moulding plane is a specialised plane used for making the complex shapes found in wooden mouldings that are used to decorate furniture or other wooden objects. Traditionally, moulding planes were blocks of wear-resistant hardwood, often beech or maple, which were worked to the shape of the intended moulding. The blade or iron was likewise formed to the intended moulding profile and secured in the body of the plane with a wooden wedge. A traditional cabinetmakers shop might have many, perhaps hundreds, of moulding planes for the full range of work to be performed. Large crown mouldings required planes of six or more inches in width, which demanded great strength to push and often had additional peg handles on the sides, allowing the craftsman's apprentice or other workers to pull the plane ahead of the master who guided it. John Moseley & Son: Records indicate that before 1834, the firm is listed at number 16 New Street, London and according to an 1862 advertisement the shop had been established in New Street since 1730, The Sun insurance records from the time show that John Moseley was the possessor of a horse mill in the yard of his premises, which means that some kind of manufacturing was taking place, as the mill would have provided power to run a saw or perhaps a grinding wheel so the probability is that he did not just sell tools, he made them as well. John Moseley died in 1828 and his will he names his four sons: John, Thomas, William and Richard. To complicate matters he also had brothers with the same first names; brothers Richard (of Piccadilly) and William (of Peckham Rye) are named as two of the executors. Brother Thomas is not mentioned in this will, but became a minister and was one of the executors of brother Richard’s estate when he died in 1856. From John’s will, we also learn that, although the shop was in New Street, he resided in Lympstone, Devon. The family must have had a house in that county for quite some time as both sons Richard and William are baptised in Devon, although John and Thomas were baptised in London. In the 1841 and 1851 census records, we just find William in New Street, but in 1861 both William and Richard are listed there as toolmakers. That Richard was staying overnight at New Street was probably just accidental as in 1851 and 1871, we find him with his wife Jane and children in Clapham and Lambeth respectively. In 1851 Richard is listed as “assistant clerk cutlery warehouse” and in 1871 as “retired plane maker and cutler”. Although the actual place of work is not stated, one may assume he worked in the family business. 1862 is a year full of changes for the firm. In that year, William had a new property built at 27 Bedford Street. In the catalogue for the 1862 International Exhibition, 54 Broad Street (later 54-55 Broad Street) is listed for the first time, which may very well coincide with the split of the business into a retail and a wholesale branch. Around the same time, they must have moved from New Street to 17 & 18 King Street because their manufacturing premises had been pulled down to form the New Street from Cranbourne Street to King Street. In January 1865, William died and Richard continued the business. In 1867, the partnership he had with his son Walker and Thomas Elis Hooker, is dissolved. Richard continued tool making at King Street and Bedford Street. Richard retired somewhere between 1867 and 1871, but the business continued. The business is taken over by W M Marples & Sons and tools continued to be made in London until 1904 when manufacturing relocated to Sheffield. A vintage tool made by a well documented company, this item was made commercially for firms and individuals that worked in wood and needed a tool that could produce a ornamental finish to timber. The tool was used before routers and spindle moulders came into use after World War ll, a time when to produce a decorative moulding for a piece of furniture, door trims etc or other items had to be accomplished using hand tools and in particular one of these types of planes. These profiled planes came in various shapes and sizes to achieve a decorative finish. A significant tool from the mid to late 19th century that today is quite rare and sought after by collectors. It gives us a snapshot of how furniture and other decorative finishes were created on timber by the use of hand tools. Tools that were themselves hand made shows the craftsmanship used during this time not only to make a tool such as the subject item but also the craftsmanship needed to produce a decorative finish that was needed to be made for any timber item. Side Bead Single Box moulding plane J Moseley & Sons maker also stamped Healy 188 High Street Poplar Surrey (retailers) marked (owners A Bowen & J W Gower with a symbol "M"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, plane moulding, moulding plane, plane, j heath, moseley -
Flagstaff Hill Maritime Museum and Village
Tool - Moulding wood Plane, Mid to Late 19th Century
A moulding plane is a specialised plane used for making the complex shapes found in wooden mouldings that are used to decorate furniture or other wooden objects. Traditionally, moulding planes were blocks of wear-resistant hardwood, often beech or maple, which were worked to the shape of the intended moulding. The blade or iron was likewise formed to the intended moulding profile and secured in the body of the plane with a wooden wedge. A traditional cabinetmakers shop might have many, perhaps hundreds, of moulding planes for the full range of work to be performed. Large crown mouldings required planes of six or more inches in width, which demanded great strength to push and often had additional peg handles on the sides, allowing the craftsman's apprentice or other workers to pull the plane ahead of the master who guided it. John Moseley & Son: Records indicate that before 1834, the firm is listed at number 16 New Street, London and according to an 1862 advertisement the shop had been established in New Street since 1730, The Sun insurance records from the time show that John Moseley was the possessor of a horse mill in the yard of his premises, which means that some kind of manufacturing was taking place, as the mill would have provided power to run a saw or perhaps a grinding wheel so the probability is that he did not just sell tools, he made them as well. John Moseley died in 1828 and his will he names his four sons: John, Thomas, William and Richard. To complicate matters he also had brothers with the same first names; brothers Richard (of Piccadilly) and William (of Peckham Rye) are named as two of the executors. Brother Thomas is not mentioned in this will, but became a minister and was one of the executors of brother Richard’s estate when he died in 1856. From John’s will, we also learn that, although the shop was in New Street, he resided in Lympstone, Devon. The family must have had a house in that county for quite some time as both sons Richard and William are baptised in Devon, although John and Thomas were baptised in London. In the 1841 and 1851 census records, we just find William in New Street, but in 1861 both William and Richard are listed there as toolmakers. That Richard was staying overnight at New Street was probably just accidental as in 1851 and 1871, we find him with his wife Jane and children in Clapham and Lambeth respectively. In 1851 Richard is listed as “assistant clerk cutlery warehouse” and in 1871 as “retired plane maker and cutler”. Although the actual place of work is not stated, one may assume he worked in the family business. 1862 is a year full of changes for the firm. In that year, William had a new property built at 27 Bedford Street. In the catalogue for the 1862 International Exhibition, 54 Broad Street (later 54-55 Broad Street) is listed for the first time, which may very well coincide with the split of the business into a retail and a wholesale branch. Around the same time, they must have moved from New Street to 17 & 18 King Street because their manufacturing premises had been pulled down to form the New Street from Cranbourne Street to King Street. In January 1865, William died and Richard continued the business. In 1867, the partnership he had with his son Walker and Thomas Elis Hooker, is dissolved. Richard continued tool making at King Street and Bedford Street. Richard retired somewhere between 1867 and 1871, but the business continued. The business is taken over by W M Marples & Sons and tools continued to be made in London until 1904 when manufacturing relocated to Sheffield. A vintage tool made by a well documented company, this item was made commercially for firms and individuals that worked in wood and needed a tool that could produce a ornamental finish to timber. The tool was used before routers and spindle moulders came into use after World War ll, a time when to produce a decorative moulding for a piece of furniture, door trims etc or other items had to be accomplished using hand tools and in particular one of these types of planes. These profiled planes came in various shapes and sizes to achieve a decorative finish. A significant tool from the mid to late 19th century that today is quite rare and sought after by collectors. It gives us a snapshot of how furniture and other decorative finishes were created on timber by the use of hand tools. Tools that were themselves hand made shows the craftsmanship used during this time not only to make a tool such as the subject item but also the craftsmanship needed to produce a decorative finish that was needed to be made for any timber item. Side Bead Single Box moulding plane J Moseley & Sons maker also stamped Healy 188 High Street Poplar Surrey (retailers) marked (owners A Bowen & J W Gower Size 9/16"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, plane moulding, moulding plane, plane, j heath, moseley -
Flagstaff Hill Maritime Museum and Village
Tool - Smoothing wood Plane, Mid to Late 19th Century
A smoothing plane is a wood plane used for making a smooth surface to wood surfaces traditionally, these planes were blocks of wear resistant hardwood, often beech or maple, which were worked to the shape or size required. The blade, or iron was likewise formed to the intended flat or level profile and secured in the body of the plane with a wooden wedge. A traditional cabinetmakers shop might have many, perhaps hundreds, of moulding and smoothing planes for the full range of work to be performed. Large crown mouldings or smoothing plane surfaces required planes of six or more inches in width, which demanded great strength to push and often had additional peg handles on the sides, allowing the craftsman's apprentice or other worker to pull the plane ahead of the master who guided it. John Moseley & Son: Records indicate that before 1834, the firm is listed at number 16 New Street, London and according to an 1862 advertisement the shop had been established in New Street since 1730, The Sun insurance records from the time show that John Moseley was the possessor of a horse mill in the yard of his premises, which means that some kind of manufacturing was taking place, as the mill would have provided power to run a saw or perhaps a grinding wheel so the probability is that he did not just sell tools, he made them as well. John Moseley died in 1828 and his will he names his four sons: John, Thomas, William and Richard. To complicate matters he also had brothers with the same first names; brothers Richard (of Piccadilly) and William (of Peckham Rye) are named as two of the executors. Brother Thomas is not mentioned in this will, but became a minister and was one of the executors of brother Richard’s estate when he died in 1856. From John’s will, we also learn that, although the shop was in New Street, he resided in Lympstone, Devon. The family must have had a house in that county for quite some time as both sons Richard and William are baptised in Devon, although John and Thomas were baptised in London. In the 1841 and 1851 census records, we just find William in New Street, but in 1861 both William and Richard are listed there as toolmakers. That Richard was staying overnight at New Street was probably just accidental as in 1851 and 1871, we find him with his wife Jane and children in Clapham and Lambeth respectively. In 1851 Richard is listed as “assistant clerk cutlery warehouse” and in 1871 as “retired plane maker and cutler”. Although the actual place of work is not stated, one may assume he worked in the family business. 1862 is a year full of changes for the firm. In that year, William had a new property built at 27 Bedford Street. In the catalogue for the 1862 International Exhibition, 54 Broad Street (later 54-55 Broad Street) is listed for the first time, which may very well coincide with the split of the business into a retail and a wholesale branch. Around the same time, they must have moved from New Street to 17 & 18 King Street because their manufacturing premises had been pulled down to form the New Street from Cranbourne Street to King Street. In January 1865, William died and Richard continued the business. In 1867, the partnership he had with his son Walker and Thomas Elis Hooker, is dissolved. Richard continued tool making at King Street and Bedford Street. Richard retired somewhere between 1867 and 1871, but the business continued. The business is taken over by W M Marples & Sons and tools continued to be made in London until 1904 when manufacturing relocated to Sheffield. A vintage tool made by an unknown maker, that was made commercially for firms and individuals who worked in wood and needed a tool that could produce a flat or level finish to timber. These types of planes came in various shapes and sizes to achieve the required finish to timber surfaces used in cabinet making. This item is a significant tool from the mid to late 19th century that today is quite rare and sought after by collectors. It gives us a snapshot of how furniture and other decorative finishes were created on timber by the use of hand tools only. Smoothing Plane Coffin typeMaker J Moseley & Son London and 2¼" also has OS stamped on side (probably an owner)flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, plane moulding, moulding plane, plane, j heath, moseley -
Flagstaff Hill Maritime Museum and Village
Book, Air Power Over Europe
... Warrnambool great-ocean-road Book Air Power Over Europe Air Power Over ...This item is from the ‘Pattison Collection’, a collection of books and records that was originally owned by the Warrnambool Mechanics’ Institute, which was founded in Warrnambool in 1853. By 1886 the Warrnambool Mechanics’ Institute (WMI) had grown to have a Library, Museum and Fine Arts Gallery, with a collection of “… choice productions of art, and valuable specimens in almost every branch and many wonderful national curiosities are now to be seen there, including historic relics of the town and district.” It later included a School of Design. Although it was very well patronised, the lack of financial support led the WMI in 1911 to ask the City Council to take it over. In 1935 Ralph Pattison was appointed as City Librarian to establish and organise the Warrnambool Library as it was then called. When the WMI building was pulled down in 1963 a new civic building was erected on the site and the new Warrnambool Library, on behalf of the City Council, took over all the holdings of the WMI. At this time some of the items were separated and identified as the ‘Pattison Collection’, named after Ralph Pattison. Eventually the components of the WMI were distributed from the Warrnambool Library to various places, including the Art Gallery, Historical Society and Flagstaff Hill. Later some were even distributed to other regional branches of Corangamite Regional Library and passed to and fro. It is difficult now to trace just where all of the items have ended up. The books at Flagstaff Hill Maritime Village generally display stamps and markings from Pattison as well as a variety of other institutions including the Mechanics’ Institute itself. RALPH ERIC PATTISON Ralph Eric Pattison was born in Rockhampton, Queensland, in 1891. He married Maude Swan from Warrnambool in 1920 and they set up home in Warrnambool. In 1935 Pattison accepted a position as City Librarian for the Warrnambool City Council. His huge challenge was to make a functional library within two rooms of the Mechanics’ Institute. He tirelessly cleaned, cleared and sorted a disarrayed collection of old books, jars of preserved specimens and other items reserved for exhibition in the city’s museum. He developed and updated the library with a wide variety of books for all tastes, including reference books for students; a difficult task to fulfil during the years following the Depression. He converted all of the lower area of the building into a library, reference room and reading room for members and the public. The books were sorted and stored using a cataloguing and card index system that he had developed himself. He also prepared the upper floor of the building and established the Art Gallery and later the Museum, a place to exhibit the many old relics that had been stored for years for this purpose. One of the treasures he found was a beautiful ancient clock, which he repaired, restored and enjoyed using in his office during the years of his service there. Ralph Pattison was described as “a meticulous gentleman whose punctuality, floorless courtesy and distinctive neat dress were hallmarks of his character, and ‘his’ clock controlled his daily routine, and his opening and closing of the library’s large heavy doors to the minute.” Pattison took leave during 1942 to 1942 to serve in the Royal Australian Navy, Volunteer Reserve as Lieutenant. A few years later he converted one of the Museum’s rooms into a Children’s Library, stocking it with suitable books for the younger generation. This was an instant success. In the 1950’s he had the honour of being appointed to the Victorian Library Board and received more inspiration from the monthly conferences in Melbourne. He was sadly retired in 1959 after over 23 years of service, due to the fact that he had gone over the working age of council officers. However he continued to take a very keen interest in the continual development of the Library until his death in 1969. The Warrnambool Mechanics’ Institute (WMI) was formed by a voluntary community group in 1863, within six years of Warrnambool’s beginnings, and its Reading Room opened in 1854. The WMI operated until 1963, at which time it was one of the oldest Mechanics’ Institutes in Victoria. Mechanics’ Institutes offered important services to the public including libraries, reading rooms and places to display and store collections of all sorts such as curiosities and local historical relics. In 1886 a Museum and Fine Arts Gallery were added to the WMI and by the beginning of the 20th century there was also a billiards room and a School of Art. By this time all Mechanics’ Institutes in country Victoria had museums attached. Over the years the Warrnambool Mechanics’ Institute Library was also known as the Warrnambool Public Library the Warrnambool Library and the Free Library. Early funding from the government was for the “Free Library”. The inscription in a book “Science of Man” was for the “Warrnambool Public Library”, donated by Joseph Archibald in 1899. Another inscription in the book “Catalogue of Plants Under Cultivation in the Melbourne Botanic Gardens 1 & 2, 1883” was presented to the “Warrnambool Library” and signed by the author W.R. Guilfoyle. In 1903 the Warrnambool Public Library decided to add a Juvenile Department to library and stock it with hundreds of books suitable for youth. In 1905 the Public Library committee decided to update the collection of books and added 100 new novels plus arrangements for the latest novels to be included as soon as they were available in Victoria. In July 1911 the Warrnambool Council took over the management of the Public Library, Art Gallery, Museum and Mechanics’ Institute and planned to double the size of the then-current building. In 1953, when Mr. R. Pattison was Public Librarian, the Warrnambool Public Library’s senior section 10,000 of the 13,000 books were fiction. The children’s section offered an additional 3,400 books. The library had the equivalent of one book per head of population and served around 33 percent of the reading population. The collection of books was made up of around 60 percent reference and 40 percent fiction. The library was lending 400 books per day. In 1963 the Warrnambool City Council allocated the site of the Mechanics’ Institute building, which included the Public Library, Museum and Art Gallery, for the new Municipal Offices and the Collections were dispersed until 1971. The Warrnambool Library took over the Mechanics’ Institute Library’s holdings on behalf of the Warrnambool City Council. Since the closure of the Warrnambool Mechanics’ Institute the exact location and composition of the original WMI books and items has become unclear. Other materials have been added to the collection, including items from Terang MI, Warrnambool Court House and Customs House. Many of the books have been identified as the Pattison Collection, named after the Librarian who catalogued and numbered the books during his time as Warrnambool Public Librarian in the time before the Mechanics’ Institute closed. It seems that when Warrnambool became part of the Corangamite Regional Library some of the books and materials went to its head office in Colac and then back to Warrnambool where they were stored at the Art Gallery for quite some time. Some then went to the Warrnambool Historical Society, some stayed at the Art Gallery and some were moved to Flagstaff Hill Maritime Village. The various stamps and labels on the books held at Flagstaff Hill show the variety of the collection’s distribution and origin. The books in the collection at Flagstaff Hill Maritime Village date from the 1850’s to the late 1950’s and include rare and valuable volumes. Many of the books are part of the “Pattison Collection” after the Warrnambool’s Public Librarian, Mr. R. Pattison. The Pattison Collection, along with other items at Flagstaff Hill Maritime Village, was originally part of the Warrnambool Mechanics' Institute’s collection. The Warrnambool Mechanics’ Institute Collection is primarily significant in its totality, rather than for the individual objects it contains. Its contents are highly representative of the development of Mechanics' Institute libraries across Australia, particularly Victoria. A diversity of publications and themes has been amassed, and these provide clues to our understanding of the nature of and changes in the reading habits of Victorians from the 1850s to the middle of the 20th century. The collection also highlights the Warrnambool community’s commitment to the Mechanics’ Institute, reading, literacy and learning in the regions, and proves that access to knowledge was not impeded by distance. These items help to provide a more complete picture of our community’s ideals and aspirations. The Warrnambool Mechanics Institute book collection has historical and social significance for its strong association with the Mechanics Institute movement and the important role it played in the intellectual, cultural and social development of people throughout the latter part of the nineteenth century and the early twentieth century. The collection of books is a rare example of an early lending library and its significance is enhanced by the survival of an original collection of many volumes. The Warrnambool Mechanics' Institute’s publication collection is of both local and state significance. The Warrnambool Mechanics' Institute Collection is primarily significant in its totality, rather than for the individual objects it contains. Its contents are highly representative of the development of Mechanics' Institute libraries across Australia, particularly Victoria. A diversity of publications and themes has been amassed, and these provide clues to our understanding of the nature of and changes in the reading habits of Victorians from the 1850s to the middle of the 20th century. The collection also highlights the Warrnambool community’s commitment to the Mechanics’ Institute, and to reading, literacy and learning in the regions, and proves that access to knowledge was not impeded by distance. These items help to provide a more complete picture of our community’s ideals and aspirations. As with many Mechanics' Institutes in Australia, the one which operated in Warrnambool was established and overseen for many years by key individuals associated with the development of the city itself. The WMI publication collection is historically significant because of its association with local people, places and the key historical themes in the development of Warrnambool of rural development, industry, farming, education, and community. The collection documents and illustrates the changing interests, focus and tastes of Victorians, especially those in regional cities. Generally the individual items in the collection are not particularly rare, as examples of all probably exist in other public collections in Victoria. It is primarily because there are so very few surviving Mechanics' Institute collections in Victoria, which lends this overall collection its significance. Many items in the WMI Collection have the potential to support further research, both as individual objects and through the collection in its entirety. This material is significant for its ability to assist in the interpretation of the history of the area and adds to the general understanding of the development of the township. Many components of the WMI publication collection complement and reinforce the Flagstaff Hill Maritime Museum Collection, the Warrnambool Art Gallery Collection, and that in the Warrnambool Historical Society, and also contribute to a clearer understanding of the original Warrnambool Mechanics' Institute collections. This will greatly enhance the appreciation of the few surviving Mechanics' Institute collections across Victoria, and also in New South Wales. The similarities and differences between the small number of collections that have survived can provide further insights into how the people of Victoria in general, and Warrnambool in particular, constructed a civic culture of adult learning to foster an informed citizenry. The Warrnambool Mechanics' Institute publication collection is of both local and state significance. (This Statement of Significance is quoted from the Significance Assessment : Warrnambool Mechanics’ Institute Book Collection at Flagstaff Hill Maritime Museum, February 2009, by Annette Welkamp, Cultural Connections, for Delise Oldfied, FHMV) References Juvenile Department in Warrnambool Public Library In August 1903 The Age newspaper reported in its Warrnambool news section that “With the object of discouraging boys from reading literature of the “penny dreadful” class, the committee of the local public library has decided to open a juvenile department and to stock it with hundreds of suitable books attractive to the youthful mind.” 100 new novels added to Warrnambool Public Library Shelves In November 1905 The Argue newspaper’s Warrnambool news section announced “The committee of the Public Library is bringing the collection of books more up to date. It has recently added 100 new novels to the shelves, and arrangements have been made for a supply of the latest novels immediately they arrive in the state.” Warrnambool Town Council takes over Mechanics’ Institute, Art Gallery, Public Library, Museum – and will double the building’s size In 1912 The Age reported in its Warrnambool news section “Considerable improvements are being effected by the town council in the most picturesque part of Liebig Street. Between the fire brigade station and the mechanics’ institute and art gallery a vacant block of land is being transformed a garden for carpet bedding and flowering plants. The council, which recently took over the control of the art gallery, public library, museum and mechanics’ institute, is doubling the size of the substantial stone building containing these institutions. The new building will contain a supper room for use in conjunction with functions in the town hall, adjoining, and a new reading room.” Mr Pattison, Public Librarian, says Library has a book per head of population In 1953 The Age reported an interview with the Public Librarian, Mr. R. Pattison, who said “Warrnambool has an insatiable thirst for reading. And its reading recipe contains a strong dash of fiction – 73 percent of it. Fiction makes up 10,000 of the 13,000 books in the senior section of the public library. That works out at a book per head of population. Warrnambool today is really book minded. This city has an almost insatiable thirst for knowledge as well as fiction. We’re lending 400 books a day. We supply 33 percent of the reading population of Warrnambool.” The reporter goes on to say “Warrnambool Public Library also has an ultra-modern children’s section of 3,400 books, open to every boy and girl attending school in Warrnambool. Mr Pattison hopes to show travel-talk films and install a radiogram in the children’s section “later on”. But it won’t disturb adult reading next door because the junior section is sound proof. “ Mechanics’ Institutes and Museums Mechanics’ Institutes were important sites for collecting in country Victoria … Warrnambool … all had museums attached to Mechanics’ Institutes before the end of the twentieth century” Warrnambool Mechanics’ Institute Ms Tierney said FHMV holds the collection of the Warrnambool Mechanics’ Institute in three different locations on its site. “The Mechanics’ Institute opened in 1871, was demolished in the 1960s and was one of the oldest in Victoria. “FHMV intends to create a new storage area and bring the collection together in one place which will greatly facilitate access and research. “The collection consists of books and archives dating from the 1850s to 1959s. “Some of the books are rare and valuable but it is unclear as to their relevance to the history of Warrnambool or Victoria,” Ms Tierney said. Warrnambool TAFE History South West TAFE has a long and proud history of providing technical and specialist education, with links back to the formation of the Mechanic’s Institute in 1853. Warrnambool Art Gallery’s History The Warrnambool Art Gallery began in 1886 when retired police officer Joseph Archibald opened its doors in a building behind the mechanics institute in Liebig Street. The Gallery began with an eclectic mix of artworks and museum curios. Before long Archibald mobilised public support and paid for a new gallery annex. Loans and grants allowed the Gallery collection to grow with significant early acquisitions by French, German, and Belgian artists, which were less expensive than British works. Despite its enthusiastic start the economic downturn of the 1890s brought the Collection to a halt. In 1910 the Council took control of the Mechanics Institute and ran the Gallery there until 1963 when the building was allocated for municipal offices. The Collection was dispersed on loan to galleries in Shepparton and Hamilton and not reunited until 1971. In 1986 the Gallery’s Centenary year, a permanent home was built next to the ‘Civic Green’ and named in memory of one its champions Sir Fletcher Jones O.B.E. 2016 Warrnibald Entries Joseph Archibald established the Warrnambool Museum and Art Gallery in 1886 while his son Jules Francois Archibald founded the Archibald Prize through his bequest of 1919. His aim was to foster portraiture, as well as support artists, and perpetuate the memory of great Australians. Air Power Over Europe Australia in the War of 1939-1945 Author: John Herington Publisher: Australian War Memorial Date: 1963Label on spine cover with typed text PAT 994.04 AUS Lower text block has a stamp from Warrnambool Public Library Front loose endpaper has a sticker from Corangamite Regional Library Servicewarrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, book, warrnambool mechanics’ institute, pattison collection, warrnambool library, ralph eric pattison, warrnambool city librarian, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library, air power over europe, john herington -
Flagstaff Hill Maritime Museum and Village
Equipment - Traveller pulley block, 1860s
The life saving breeches buoy was attached to a traveller block such as this one. The assembly was sent from shore to ship and back to transport the stranded people and goods safely to shore. Saving lives in Warrnambool – The coastline of South West Victoria is the site of over 600 shipwrecks and many lost lives; even in Warrnambool’s Lady Bay there were around 16 known shipwrecks between 1850 and 1905, with eight lives lost. Victoria’s Government responded to the need for lifesaving equipment and, in 1858, the provision of rocket and mortar apparatus was approved for the lifeboat stations. In 1859 the first Government-built lifeboat arrived at Warrnambool Harbour and a shed was soon built for it on the Tramway Jetty, followed by a rocket house in 1864 to safely store the rocket rescue equipment. In 1878 the buildings were moved to the Breakwater (constructed from 1874-1890), and in 1910 the new Lifeboat Warrnambool arrived with its ‘self-righting’ design. For almost a hundred years the lifesaving and rescue crews, mostly local volunteers, trained regularly to rehearse and maintain their rescue skills. They were summoned when needed by alarms, gunshots, ringing bells and foghorns. In July 1873 a brass bell was erected at Flagstaff Hill specifically to call the rescue crew upon news of a shipwreck. Some crew members became local heroes but all served an important role. Rocket apparatus was used as recently as the 1950s. Rocket Rescue Method - Rocket rescue became the preferred lifesaving method of the rescue crews, being much safer that using a lifeboat in rough seas and poor conditions. The Government of Victoria adopted lifesaving methods based on Her Majesty’s Coast Guard in Great Britain. It authorised the first line-throwing rescue system in 1858. Captain Manby’s mortar powered a projectile connected to rope, invented in 1808. The equipment was updated to John Dennett’s 8-foot shaft and rocket method that had a longer range of about 250 yards. From the 1860s the breeches buoy and traveller block rocket rescue apparatus was in use. It was suspended on a hawser line and manually pulled to and from the distressed vessel carrying passengers and items. In the early 1870s Colonel Boxer’s rocket rescue method became the standard in Victoria. His two-stage rockets, charged by a gunpowder composition, could fire the line up to 500-600 yards, although 1000 yards range was possible. Boxer’s rocket carried the light line, which was faked, or coiled, in a particular way between pegs in a faking box to prevent twists and tangles when fired. The angle of firing the rocket to the vessel in distress was measured by a quadrant-type instrument on the side of the rocket machine. Decades later, in 1920, Schermuly invented the line-throwing pistol that used a small cartridge to fire the rocket. . The British Board of Trade regularly published instructions for both the beach rescue crew and ship’s crew. It involved setting up the rocket launcher on shore at a particular angle, determined by the Head of the crew and measured by the quadrant, inserting a rocket that had a light-weight line threaded through its shaft, and then firing it across the stranded vessel, the line issuing freely from the faking board. A continuous whip line was then sent out to the ship’s crew, who hauled it in then followed the instructions – in four languages - on the attached tally board. The survivors would haul on the line to bring out the heavier, continuous whip line with a tail block connected to it. They then secured the block to the mast or other strong part the ship. The rescue crew on shore then hauled out a stronger hawser line, which the survivors fixed above the whip’s tail block. The hawser was then tightened by the crew pulling on it, or by using the hooked block on the shore end of the whip and attaching it to a sand anchor. The breeches buoy was attached to the traveller block on the hawser, and the shore crew then used the whip line to haul the breeches buoy to and from the vessel, rescuing the stranded crew one at a time. The rescue crew wore scarlet, numbered armbands and worked on a numerical rotation system, swapping members out to rest them.This traveller block is significant for its connection with local history, maritime history and marine technology. Lifesaving has been an important part of the services performed from Warrnambool's very early days, supported by State and Local Government, and based on the methods and experience of Great Britain. Hundreds of shipwrecks along the coast are evidence of the rough weather and rugged coastline. Ordinary citizens, the Harbour employees, and the volunteer boat and rescue crew, saved lives in adverse circumstances. Some were recognised as heroes, others went unrecognised. In Lady Bay, Warrnambool, there were around 16 known shipwrecks between 1850 and 1905. Many lives were saved but tragically, eight lives were lost. Wood and brass pulley block or 'traveller', used in conjunction with the Breeches Buoy. The block has double brass inline sheaves and brass rollers on each cheek of the pulley. Each shell is scored for the strop. The thimble on the strop has a wooden slat attached for quick release of the Breeches Buoy. A portion of rope is connected.flagstaff hill maritime museum and village, flagstaff hill, maritime museum, maritime village, warrnambool, shipwreck, life-saving, lifesaving, rescue crew, rescue, rocket rescue, rocket crew, lifeboat men, beach rescue, line rescue, rescue equipment, rocket firing equipment, rocket rescue equipment, maritime accidents, shipwreck victim, rocket equipment, marine technology, rescue boat, lifeboat, volunteer lifesavers, volunteer crew, life saving rescue crew, lifesaving rescue crew, rocket apparatus, rocket rescue method, shore to ship, rocket apparatus rescue, stranded vessel, line throwing mortar, mortar, rocket rescue apparatus, line thrower, line throwing, lifeboat warrnambool, beach apparatus, breeches buoy, petticoat breeches, petticoat buoy, traveller chair, life jacket, traveller, traveller block, running block, block, pulley, hawser, faking, faking box, faked line, faking board, italian hemp, quadrant, protractor, tally board, light line, whip line, endless whip, beach cart, hand barrow, sand anchor, welsh hand barrow, her majesty’s coast guard, harbour board, government of victoria, harbour master, l.s.r.c., lsrc -
Bendigo Military Museum
Album - PHOTOGRAPHS WW1, 1) Ruskin Perth et al, 1) 22.12.14; .3) 1918.4.1916; .7) 14.4.17
.2) WA 22.12.14 Dear Mother, wishing you all the Compliments of the Season, your loving son Roy. (John Roy NEILSON, Bendigo). .3) What do you think of this little lot, Roy 1918. .4) Bruce Neilson (Melbourne) yours truly Bruce. .5) Xmas 1916 Palamountain. .7) E Holtham 14.4.17.1) Photo album fold out cardboard, maroon colour, containing 6 photos. .2) Photo post card, black & white, portrait of a soldier, no hat. .3) Photo post card, black & white, soldier, Corporal, sitting on an ornamental wall. .4) Photo post card, sepia, soldier, Sergeant, sitting on an ornamental wall. .5) Photo post card, black & white, soldier in uniform standing with coat over arm. .6) Photo post card, black & white, young soldier standing in militia uniform. .7) Photo post card, black & white, young soldier standing in militia uniform.photography-photographs, documents - postcards, military history, albums -
Bendigo Military Museum
Postcard - POSTCARDS, PHOTOGRAPHIC WW1, Various et al, c.1914 - 1918
.1) Trooper Jack Miller .2) M J O'Donohue .3) & .4) F C Cotton .5) Pte Peter Williams .6) Pte A Bellingham, Queensland .7) D Kearin, G Thorn .8) Pte Roger Fitzpatrick, Maryborough East .9) L/Sgt D D Bruce, Sig W J Wair .10) John Oakes .11) Leslie Bryant .12) Cpt W Turner .13) Sgt T Marshall .14) R W Mattingley .15) Sgt A T Power .16) Sgt Walter Yates .17) Charles Drury .18) Joe O'Neill .19) Les J MartinPhotographs of Australian Servicemen WWI..17) Names on rear.photography-photographs, military history, passchendaele barracks trust -
Kiewa Valley Historical Society
Box Cuticle Soap, mid to late 1900's
The mid 1900's provided the start of "the body beautiful" revolution. The cosmetic industry, with the help of quasi scientific selling advertising slant targeted those "customers" that needed the "extra care" factor that only their product could offer. At this period in time their advertising power was based on in store, radio and newspaper media channels with saturation levels relatively low. In the later years of the 1900's saturation levels and a wider range of products and increased competition further increased the product saturation levels available to the buying residents. With the introduction of television the advertisements become more elaborate and "catchy" words, phrases and comedy type situations helped boost the advertising "pitch" and subliminal undertones to effective levels required for a highly competitive health related market place. 'sellingThis subliminally,"medically" endorsed product was one of many during the great "spin" revolution of product marketing and selling. This item is significant in that it demonstrates that greater infusion of product awareness throughout rural areas was highly successful through a greater variety of advertising media. It also demonstrates that in a highly competitive marketplace there are no physical boundaries that impinge upon the distribution of products and services. The rural sector is a highly lucrative region for any product that helps protect the body from all the "nasty's" that become more noticeable in a rural environment. This rectangular box which had contained cuticle soap is constructed from cardboard and reinforced by a black nylon impregnated sheeting. This impregnation was required to keep the box from soaking up any water from the user's hands. The top section of the box(lid) has and in large print "KELSEY'S" top line followed by "CUTICLE" off to the right and underneath and to the right "SOAP". Below this and in smaller print is "MEDICINALLY..." below this and in smaller print "EMOLLIENT AND REFRESHING, REDOLENT, CLEANSES, CURES, PRESERVES, PURIFIES." and last line underneath "SPECIALLY ADAPTED FOR TENDER SKIN" On each of the sides of the top lid are, side 1 "INVALUABLE FOR THE NURSERY." underneath in smaller print "JOHN M. KELSEY CO." to the left of this and on a green backed highlighter "No. 1744 - Guaranteed under Pure Food Act, 1908, N.S.W. by John M. Kelsey Co. - No. 1744. Melbourne, Victoria." On the right side and in large print "KELSEY'S CUTICLE SOAP" on the next side and also a similar sign on the opposite side "SPECIALLY ADAPTED FOR TENDER SKIN." below this "JOHN M. KELSEY CO." "Registered" and on the other long side in large print "SPECIALLY ADAPTED FOR TENDER SKIN" underneath in smaller print JOHN M. KELSEY CO. Registered"specialised soap, toilet requisites, nursery health., bathroom, domestic -
Bendigo Military Museum
Book, Kurrah! : an Australian POW in Changi, Thailand & Japan, 1942-1945, 1991
Kuwah! details the experience of Bill Power a sapper with the 2.12th Field Company when thousands of Australians marched into two and a half years of captivity under the Japanese. Soft cover, cardboard, black and red print on front, back and spine. Sketch of POW person superimposed over a red and white flag on front cover. Black and white photograph of Bill Power in uniform on back cover. 146 pages cut plain. Illustrated black and white photographs and maps. Autobiography - diary. Front flyleaf - hand written black ink "Donated by Bgo YMCA". - blue ink "John W Toon OAM/ ex P.O.W./8th Div AASC"books, military history -
Kiewa Valley Historical Society
Photograph - Folder of Photographs – Photocopied set of black and white photographs (pages 49 -58) from the display folder put together by KVHS to document life on the Kiewa Valley Hydro-electric Scheme
Although the Kiewa Hydro-Electric Scheme was first proposed in 1911, construction did not commence until 1938. As part of the push to cut electricity costs and diversify supply, the Victorian Government (circa 1930) initiated the conversion from primarily brown coal supply to hydro – electricity. Field investigations during the 1940’s resulted in a new proposal for a scheme that had more than double the capacity of the 1938 scheme. The Kiewa Hydroelectric Scheme became the largest scheme of its kind in the State Of Victoria and the second largest scheme in Australia. The number of personnel involved in the planning and construction of the scheme increased dramatically. During the late 1940’s, most activity centred around the construction of the West Kiewa Power Station, Rocky Valley Reservoir, McKay Creek Power Station and the Bogong Creek Aqueduct.A common thread across all the larger hydro scheme constructions was the need for workers, both qualified and unqualified who came from around the world seeking a new life for themselves and their families. New accommodation and facilities were required for the army of workers engaged in construction in often remote and wild areas. The SEC had a high demand for timber, and set up the first of a number of sawmills at Bogong Creek in 1939 and set up the first hardwood logging in the headwaters of the Kiewa River. These new ‘towns’ such as Mt Beauty and Bogong, survived, serving the needs of operational personnel and their families, and expanding with growth of new industries. Mount Beauty, and to a lesser extent Bogong, are among these places. Large A3 size spiral bound display folder containing photocopied black and white photographs of various aspects of the early days of the Kiewa Valley Hydro-electric scheme including equipment, various work sites and photographs of workers and their families. 1-Workmen working inside one of the tunnels. 2-Workman drilling in West Kiewa Tunnel 3-Junction Dam wall construction 4&5-2B&W photographs Kiewa House residents ready to go to a ball in Mt Beauty 6-Workmen warming up in front of a fire at No 1 bench 7-Workmen being hauled in at No 4 P.S Shaft 8-No 4 Power Station – Drilling 9-Workmen eating a hot meal in the tunnel. 10-2 photographs (a)Pretty Valley camp showing workman’s huts and construction materials & (b)Worker in Langford Gap Basalt Hill Tunnel face 11-Tunnel entrance (unlabelled) with rail tracks in foreground 12- Workmen drilling at No 1 Head race tunnel-Drilling face 13- No 1 Power Station 14-Workmen at the entrance to one of the SECV tunnels under construction 1-SECV number at bottom of picture Half obscured possibly K8461 Page number 53 2-In West Kiewa Tunnel Page number 54 3- Construction of Junction Dam wall – approximately 1941 Page number 55 4&5- Residents of Kiewa House at Bogong ready to go to the ball at Mt Beauty-1946. Handwritten on a copy of the photo on opposite page Mrs Lorna Crosset filled out the names *Dad was Des Crossett – his daughter is Gael Petcopoulis Greta engaged to John broke it off. Charlie, Rosalind, Bill, Priscilla, Max Lawrence-Dad’s Boss, Mary & Max married, Mary, Kay, Gwen McPherson Mum’s boss, John McCluskey (c) At No. 5 Bench Page number 56 6- STATE ELECTRICITY COMMISSION OF VICTORIA Date: 27.2.51 Time:2.15pm No K6373 Kiewa Hydro Electric Works No. 4 P.S. Shaft – Haulage of men in buckets (b) As above Handwritten at top of photo Appendix 4 page number 57 7- STATE ELECTRICITY COMMISSION OF VICTORIA Date: 6.6.52 Time:… No K7122 Kiewa Hydro Electric Works No. 4 POWER STATION – DRILLING page number 58 8-No markings page number 59 9-(a)Handwritten under photograph Approx. 1948/49 (b) STATE ELECTRICITY COMMISSION OF VICTORIA Date: 28.10.54 Time:.. No K7860 Kiewa Hydro Electric Works LANGFORD GAP BASALT HILL TUNNEL FACE Page number 49 10-(a) No markings 11- STATE ELECTRICITY COMMISSION OF VICTORIA Date: 20.3.52 Time: No K6979 Kiewa Hydro Electric Works No. 1 HEAD RACE TUNNEL – DRILLING FACE (E.E.E. CONTRACT) ‘The Frenchies’ (E.E.E) as they were affectionately known Page number 50 12-31.5.56 No. 1 Power Station Aggregate Stock Piles. Page number 51 13&14-No markings Page number 52 secv; kiewa hydro electric scheme; bogong; mt beauty; construction area -
Australian Commando Association - Victoria
Photograph, Unknown, 2 COMMANDO COMPANY Ripponlea pay parade July 1958, 1958
Unit members in the photo: Back row: Peter Herd, Mick Stewart, Ian Bunston, Russ Bradley, Bob West, Peter Reid, Norm 'Doc' Willoughby, Brian Hinneburg, Claude Gillard, _______ , Kevin Hatfield, Ian Hicks, Mack Hinds, John Woodruff. 4th row: Geoff Smith, Phil 'Juni0r' Meakins, Phillip Roff, George Wing, 'Bluey' De Clerk, Bob 'Canada' Johnston, Jim Walsh, Mike Hicks, Ern Jeffries, Carl 'Dutchy' Hulsbergen, Leigh Power, __________ , Norm 'Mick' Kennedy, Ray Bunyard, Jack Murray. 3rd row: Jeff Tomlinson, ______ , Vince Nehill, Jim Stephens, Bert Boatwright, Bill Leach, Bob Reid, Peter 'Padre' Bowden, ______ , Frank Read, Peter Higgins, Bill Salmon, John Hutchinson, Gus Kongas, Tony Poole. 2nd row: Roman Stuczynski, Stan Polan, Allan Moore, Don Bergman, Col 'Ali' Barbour, Peter Askew, Ron Smith, OC Major John Hutcheson, Adj Capt John Pritchard, Lt John O'Rourke, Ron Scott, George 'Taffy' Drakopoulos, Ted Malone, Ray Sanders, Kevin Collins, Barry Creighton. 1st row: Tom Massey, Mick Thurlough, Glen Watterson, Joe Frazer, Warren Hutchings, Max Coulson, Graham Gould?, Maurice 'Elvis' Priestly, _______ , 'Bluey' Darlington, 'Bluey' _____ , _____________ , 'Tich' McIntyre, Jim Trainor. Proovided by Jim Trainor.One of a very few photos only of (almost) the complete personnel of 2 Cdo Coy in its early years. B & W group photo unframed, 5 rows tiered, 73 men in winter battledress at the 2 Commando Company depot at Ripponlea, Melbourne in 1958. A separate document names most of the men. Described by Jim Trainor as Ripponlea pay parade July 1958. 2 commando company - 1958 - pay parade - ripponlea depot - unit personnel -
Ringwood and District Historical Society
Book, A Flying Life - John Duigan and the first Australian aeroplane, 2010
About the author: Born in Melbourne, David Crotty has worked in museums since 1984. He has a long-standing interest in aviation history and has worked as a curator with the Australian War Memorial and the RAAF Museum. He is currently (2010) a curator in the History and Technology Department of Museum Victoria. Story of John Robertson Duigan and his flying creer, from his early years as a Melbourne school boy to his heroic activities as a pilot on the Western Front in World War One. He was the first Australian to fly a powered Australian-made aeroplane in Australia.Front cover: Top - Duigan's aeroplane in flight, Spring Plains Station, Mia Mia, Victoria, in 1911. Below - John Duigan at the controls of his aircraft at Spring Plains Station, Mia Mia, Victoria, in 1911. -
The Beechworth Burke Museum
Photograph, 1907-8
The photo from 1907-8 is a sepia print, depicting a small valley with building at base. There are flumes visible above areas of water, trees on hills and a few small cottages on the hillside. Cock's Pioneer Gold & Tin Sluicing Co NZ No 2 Site. The photo was taken of Matthews Gully looking west. Sluicing was undertaken in the area from 1900 to 1942 with some short breaks between these periods. The image depicts a location mined by Cocks Pioneer Gold and Tin Sluicing Company (as recorded on the annotation on the card mount) The Cocks Pioneer Gold and Tin Mines N.L was one of El Dorado's two largest open cut sluicing mines of the 20th Century. The other was named the Cocks El Dorado Gold Dredging Company. The Cocks Pioneer Mines operated from 1901 until 1941 and found a total of 117,378 ounces of Gold and 1,673 tones of tin concentrates over these years. The Cocks company was formed in 1898 and operated until 1941. Open cut sluicing involved the use of high-powered hoses which used the centrifugal sand pump system (known as hydraulic sluicing) which broke down the soil which was then processed for gold and other precious metals. From 1914 , four years after this image was captured, the company reformed to Cocks Pioneer Gold and Tin Mines NL (previously it was known as Cocks Pioneer Sluicing Co) and undertook large scale sluicing operations until 1929 and then 1934-1941. El Dorado is located on Reedy Creek and is surrounded by forested country to the north and east. It is 20 km east of Wangaratta in Victoria's regional north-east. John Cock was the son of a Cornish minor who arrived in El Dorado in 1858. Cock founded his gold and tin mining company which ran successfully for many years in the El Dorado region. It was an open cut sluicing company because of the abandonment of underground mining after this was deemed too dangerous. In 1935 Cock's El Dorado Company commissioned the floating dredge which is still visible in El Dorado today. The dredge was built by the Thompson engineering works, Castlemaine, and weighed over 2,000 tones and today has a place on the Victorian Registers of historic buildings. Interestingly, the name El Dorado does not derive from the gold in the region, but from the Barambogie pastoral run completed by William Baker in 1840-1841. Gold was discovered in El Dorado 1854 but the gold was too deep for individual prospectors to find, it required the use of heavy machinery.The search for gold is ingrained into the history of Victoria and therefore, images like this one which portray an open cut sluicing site can reveal important information for society and technology for the date when the photograph was taken. This image is of important historical significance for its ability to convey information about sluicing and the methods used to find gold in 1910. It also shows a location where sluicing was undertook which provides insight into the impact of sluicing on the environment at a time when it was done. This image is important for current research into the history of El Dorado, a small regional location near Wangaratta in Victoria's North East. Therefore, this image has the capacity to be beneficial for research into society and the motivations of those living and working in this region during this period and therefore, has social significance. The Beechworth Burke Museum has additional images relating to gold sluicing and El Dorado which can be analysed and studied alongside images like this one.Sepia coloured rectangle photograph printed on gloss photographic paper Reverse: 1997. 2613/ A02613/ No2 site/ Matthews Gully/ Cocks Pioneer G&T. ?? Co NZ/ No2 Site looking West/ 1907-8/ (7)sluicing, hydraulic sluicing, 1907, 1908, mining, cock's pioneer gold & tin sluicing co nz, nz, site no 2, matthews gully, west, valley, building, cottages, hillside, trees, water, gold and tin mine -
The Beechworth Burke Museum
Photograph, 1910
This photograph dating to 1910 depicts an open cut sluicing site located in El Dorado captured looking east up the open cut from the number 3 Barge site. Sluicing was undertaken in the area from 1900 to 1942 with some short breaks between these periods. The image depicts a location mined by Cocks Pioneer Gold and Tin Sluicing Company (as recorded on the annotation on the card mount). It portrays open cut rocks with a crevice in the center of the image where the sluicing was being undertaken. There is a small timber structure on the right of the image which could be an entrance to a mine or supports made of wood to prevent a cave in at the open cut site and above the cut rock there is bush. The timber structure has rail tracks on top of the bridge which could suggest the identification of this structure as a mine entrance. The rail tracks were used for little carts which hauled soil from the mine. The Cocks Pioneer Gold and Tin Mines N.L was one of El Dorado's two largest open cut sluicing mines of the 20th Century. The other was named the Cocks El Dorado Gold Dredging Company. The Cocks Pioneer Mines operated from 1901 until 1941 and found a total of 117,378 ounces of Gold and 1,673 tones of tin concentrates over these years. The Cocks company was formed in 1898 and operated until 1941. Open cut sluicing involved the use of high-powered hoses which used the centrifugal sand pump system (known as hydraulic sluicing) which broke down the soil which was then processed for gold and other precious metals. From 1914 , four years after this image was captured, the company reformed to Cocks Pioneer Gold and Tin Mines NL (previously it was known as Cocks Pioneer Sluicing Co) and undertook large scale sluicing operations until 1929 and then 1934-1941. El Dorado is located on Reedy Creek and is surrounded by forested country to the north and east. It is 20 km east of Wangaratta in Victoria's regional north-east. John Cock was the son of a Cornish minor who arrived in El Dorado in 1858. Cock founded his gold and tin mining company which ran successfully for many years in the El Dorado region. It was an open cut sluicing company because of the abandonment of underground mining after this was deemed too dangerous. In 1935 Cock's El Dorado Company commissioned the floating dredge which is still visible in El Dorado today. The dredge was built by the Thompson engineering works, Castlemaine, and weighed over 2,000 tones and today has a place on the Victorian Registers of historic buildings. Interestingly, the name El Dorado does not derive from the gold in the region, but from the Barambogie pastoral run completed by William Baker in 1840-1841. Gold was discovered in El Dorado 1854 but the gold was too deep for individual prospectors to find, it required the use of heavy machinery.The search for gold is ingrained into the history of Victoria and therefore, images like this one which portray an open cut sluicing site can reveal important information for society and technology for the date when the photograph was taken. This image is of important historical significance for its ability to convey information about sluicing and the methods used to find gold in 1910. It also shows a location where sluicing was undertook which provides insight into the impact of sluicing on the environment at a time when it was done. This image is important for current research into the history of El Dorado, a small regional location near Wangaratta in Victoria's North East. Therefore, this image has the capacity to be beneficial for research into society and the motivations of those living and working in this region during this period and therefore, has social significance. The Beechworth Burke Museum has additional images relating to gold sluicing and El Dorado which can be analysed and studied alongside images like this one.Sepia coloured rectangular photograph printed on gloss photographic paper mounted on board.Obverse: COCKS PIONEER Q + T SL CO, N.L. / 1910 / LOOKING EAST UP OPEN CUT / FROM NO3 BARGE SITE / Reverse: 1997 . 2611 / A02611el dorado, north east gold, sluicing, gold sluicing, hydraulic sluicing, 1910, gold and tin mine, open cut mining, mining, gold mining, north-east victoria, beechworth, burke museum -
Warrnambool and District Historical Society Inc.
Document - Illustrative document of Alderdice Brassfounders Company Products, c.1950
This item advertises and describes a power pumping head and other products made by Alderdice Brassfounders of Warrnambool. Brothers William and Charles Downing came from Melbourne to Warrnambool in 1898 and established the Atlas Brassworks. In 1901, with the involvement of John Alderdice, the Downing brothers began the Alderdice Brassfounders Company situated at 64 Henna Street in Warrnambool, the site of an old cordial factory. This business which produces fittings used in farming, factories, public utilities, Government departments etc., still operates at the same address.This item is of considerable interest as an early example of the the business activities of Alderdice Brassfounders Co., a prominent business in Warrnambool for over 120 years.This is a sheet of paper describing a power pumping head one side and other products of the Alderdice Brassfounders Company on the other. It contains black printing and black and white illustrations on both sides of the paper. Three of the illustrated items have been crossed out.warrnambool industries -
Port of Echuca
Postcard, Early 20th Century
The water tower on the corner of Pakenham St and High Street Echuca, was designed by Sir John Monash, who was an innovator in the use of reinforced concrete. The tower cost £2,973 and was completed in 1915. It is 108 feet high and holds 150,000 gallons. it was originally connected to the steam powered pumping plant at Echuca East. John Monash was a war hero at Gallipoli in 1915 and also went on to be the Manager of the Victorian State Electricity Commission. Monash University was named after him.The water tower was a revolutionary design in 1915. It also brought tapped water to people's homes. Sir John Monash made a huge contribution to engineering and social concepts, which was why he was knighted. As well as these contributions to social development, he was also a war hero.Black and white postcard featuring the water tower in Packenham Street. The photograph was taken from Alton Reserve. The background shows a conglomeration of buildings and the foreground shows shaped lawns and park benches. The postcard has a thick border in a cream colour all around it.On the reverse is printed ; POST CARD. Write here for Inland Postage only. Tha Address to be written here. In pen is hand written the words View of Water Tower Pakenham St. Taken from Alton Reserve?echuca east pumping station, echuca water tower, monash, sir john, alton reserve, engineering, reinforced concrete -
Port of Echuca
Colour Photograph, Approx.1979
The water tower on the corner of Pakenham St and High Street Echuca, was designed by Sir John Monash, who was an innovator in the use of reinforced concrete. The tower cost £2,973 and was completed in 1915. It is 108 feet high and holds 150,000 gallons. it was originally connected to the steam powered pumping plant at Echuca East. John Monash was a war hero at Gallipoli in 1915 and also went on to be the Manager of the Victorian State Electricity Commission. Monash University was named after him.The water tower was a revolutionary design in 1915., being constructed of reinforced concrete. It also brought tapped water to people's homes. Sir John Monash made a huge contribution to engineering and social concepts, which was why he was knighted. As well as these contributions to social development, he was also a war hero. Colour photograph of water tower on the south east corner of High and Pakenham street, Echuca. The St Andrews church tower can be seen in the background.On the front of the photograph on the bottom facade of the water tower is painted "E.W.T." (Echuca Water Trust). Printed on the reverse:" this paper manufactured by Kodak"echuca, water tower, echuca-historical buildings, monash, sir john, reinforced concrete building construction -
Yarrawonga and Mulwala Pioneer Museum
Treadmill, John Stokes Bagshaw & Sons
HORSE -POWERED 4 wheeled timber and steel treadmill used as a power source to drive winnower which removed chaff from grain - photo 0019none -
Robin Boyd Foundation
Book, Peter L. Bernstein, The Power of Gold: The History of an Obsession, 2000
Hardcover w/dust jacketwalsh st library -
Surrey Hills Historical Society Collection
Book, Early Canterbury, 1994
This booklet gives a brief description of the local settlement in Canterbury giving the landholders names and name of the house (before street numbering was introduced) and street it was located in.This booklet gives a brief description of the local settlement in Canterbury giving the landholders names and name of the house (before street numbering was introduced) and street it was located in.canterbury, (ms) jane f portingale, postmistress, (mr) arundel wrighte, wood brothers, koonung creek, (mr) thomas power, (mr) oliver russell, (mr) frederick griffin, (mr) thomas payne, shrublands, w creek, (mr) john gardiner, (mr) james shanley, (mr)robert hoddle, (mr) michael logan, (mr) patrick moloney, (mr) hugh glass, r. larkins, t. hassett, e. sturt, d.s. campbell, (mr) joseph camm, riversdale road, w. logan, rochester road, 1843, trees, mont albert road, a. sikes, (mr) william smith, 1853, (mr) ernest carter, dentist, elgar's surrey, hindson family, (mr) george granville mercy, (mr) alfred golding, (mr)alexander patterson, (mr) thomas boanas, (mr) thomas hyde, builders, (mr) richard terrill, architects, (mr) thomas miles, drapers -
National Wool Museum
Photograph
Depicts Booyoolee Shed, which was built in 1856 and demolished in 1989. View from east side of shed. A modern version of a "stobie" pole can be seen, which was used to carry 240 volt power to shed to drive the overhead, enabling the old combustion engine to be dispensed with. Taken by John Bailey in South Australia at the request of Gael Shannon (former NWM employee). -
Peterborough History Group
Memorabilia - The Schomberg Cup Honour Board
The golf tournament evolved from the P'boro Power Boat Race. The tournament is still a big event on the Peterborough Golf Club calendar. The Cup records the winners of the actual boat race, including the name of the winning boat and the skipper from 1949 to 1962. The winners were: 1949 Won by Albie Affleck Skipper HT Grimwade. 1950 Won by Lady Emma Skipper DC Moore, 1951 Aunt Spee Skipper A W Moore, 1952 JB Skipper J W Bartlam, 1953. Cynic Skipper HT Grimwade, 1954 Tom Thumb Skipper CR Chirnside, 1955 Nipper Skipper PW Coy, 1956 Typhoon Skipper LG Tabart 1957 Lady Nelson skipper DC Moore, 1958 - 1959 The Sea Moore Skipper F Moore, 1960 Cutty Sark Skipper RA Chirnside, 1961 Sweep Skipper S Joyce, 1962 scum skipper WM HolbeachThis honour board is significant because it records the winners over time of the event, but also because it is a link with the original boat race, which was a major fun event over summer in the town.A shield shaped wooden plaque with a metal scroll at the top and metal engraved shield shape in the centre of the board, surrounded by numerous smaller shield shapes, each engraved with the names of the winners and the date. Also a cup with shield shaped plaques around the base to record the winners.Central plaque inscribed thus: THE SCHOMBERG CUP THE OFFICERS OF THE PPBC 1949 Admiral Desmond C. Moore, Captain Wocca Moore Chief Engineer Andy Chirnside Boson John Wiber Chief Petty Officer (Later Mutinously & illegally self appointed Tinny Grimwade Lieutenant Commander) Ships Cat Tom Austin Master at Arms I Barty (Mr. Bartlam) II Brigadier Tinsley III Mark Howard Sub Lieutenant Gitchie Calvert Jnr Boson II Moyle Breton Chief Writer Jonnie Moore peterborough, golf tournament, the schomberg cup, peterborough golf club -
Nillumbik Shire Council
Ceramic (plates): Alma SHANAHAN (b.1924 - d.2015 Melb.), Alma Shanahan, Horse Power - The Flip Side, c.1965
Alma Shanahan (1924-2015) was a Victorian potter who came to live at Clifton Pugh's Dunmoochin art colony at Cottlesbridge, on Melbourne's outskirts in 1953. Unable to join the co-operative proper, as she was a potter, not a painter, she built her house at the top of the hill, 135 Barreenong Road, Cottles Bridge. The c.1953 house is historically, aesthetically and architecturally significant because it is a good example of the design and ethos of mud brick dwellings synonymous with Eltham and features the extensive use of recycled materials, which was characteristic of the 'Eltham style' of architecture. Like the others in the artist community, Alma Shanahan built her own residence in stages out of local materials. Shanahan was later joined by neighbours and Dunmoochin potters Peter and Helen Laycock. She trained for a term with Peter Laycock but was otherwise self-taught, basing her practice on the teachings of Bernard Leach. After Pugh's death in 1991 she became the longest standing Dunmoochin resident. Her works are incised with her full name. Alma Shanahan was a part of the Dunmoochin Artist's community whose (other) members (Kevin Nolan, John Howley, John Olsen, Mirka Mora, Peter Laycock, Helen Laycock, Peter Wiseman and Chris Wiseman) made an important contribution to Victoria's cultural history. From the mid 1950s Pugh persuaded a number of other painters, as well as potters and other artists, to come and live at Dunmoochin and they formed one of Victoria's most important artist communities. She started potting around 1961 (aged 37). "Horse Power" was made using Chullora clay, which indicates it was made during her first seven years of production. Horse Power is about man's search for "energy" and how the "energy" can turn around. Made from Chullora (Sydney) clay. Glazed stoneware plates (x2) with brush decorations resting on hand made ceramic stands. Plate one: 2006.64.1VA (Horse Power + stand) shows a figure on horse back with blue foliage in background. Plate two: 2006.64.2VA (Flip Side + stand) shows a horse with figure under it's hooves. Hand painted signature in brown/black on back of both plates; "Alma Shanahan"shanahan, stoneware, glaze, plates, horse, dunmoochin -
Port Fairy Historical Society Museum and Archives
Photograph
Iconic Hotel in Port Fairy Built as the first of a proposed chain of hotels by John Walwyn Taylor in 1855 on the corner of Bank and Sackville Streets. 2 stories with a balcony wrapping around 2 sides of the building. The site was formerly occupied by the wooden hotel "The Sally Ann". A snapshot of time showing the hotel the power lines, and the style of cars from that era.Black and white photograph of the Star of the West Hotel on a brown bordered mountWritten in Pen at top and underlined - STAR OF THE WEST HOTEL Lower right - ball point pen museum numbers 62.04B.011D On Back- Pencil - 3-17 - S2-7-57 - j o h 2-7-57john walwyn taylor, the sally ann, bank street, sackville street, hotel, star of the west -
Port Fairy Historical Society Museum and Archives
Photograph
The Stag was built 1848-1854. John Sanders purchased the land from Atkinson in 1848 and built the building as a licensed premises. Over the years it was also used as a Hotel, boarding house and boarding school. It is still used today as Accommodation and a restaurant. This photo has probably been taken in the 1980'sBlack and white Photograph of 2 story building with multi paned windows power pole on corner and telegraph pole to the righthotel, stag, seacombe, inn, john sanders, boarding house, school, coffee palace -
Port Fairy Historical Society Museum and Archives
Postcard - Photograph, Seacombe House Port Fairy
Seacombe House Formerly named The Stag Cnr Sackville and Cox Streets Port Fairy John Sanders (Saunders) first came to Port Fairy in charge of the "Sally Ann" owned by the Henty family of Portland. He left the sea behind in 1844 and established the "Sally Ann Inn" named for his old ship, on the site of the present day Star of the West hotel. After selling the Sally Ann Inn to John Taylor he acquired the land on the South west corner of Sackville Street and erected a detached cottage facing Sackville Street for which he obtained a licence to sell alcohol and named the premises The Stag Inn. He died in 1850 and his wife leased the Inn to John Mason. By 1852 a large two story rendered bluestone building had been constructed on the corner site. The second un rendered section was probably added in 1854. Abijah John Brown became licencee in 1855 and made the Stag the centre of entertainment for the district, with many balls, dinners and concerts taking place there. It boasted "a billiard room and a twenty stall stables and coach house". By 1861 Abijah Brown had left The Stag and Lennox Trew was now owner and licencee. It came up for sale in 1869 but failed to sell. After Trew's death in 1886 it was sold to a syndicate and opened as a boarding school. It later became a Coffee Palace and Accomodation house named Seacombe House, and in the 1950's a motel was built on the old stable site. It is still a Hotel Motel and a restaurant which has revived the old name of "The Stag". Black and white Photograph of 2 story rendered building with multi paned windows and power pole on cornerhotel, lennox trew, abijah brown, john sanders, john saunders, john mason., sackville street, cox street, stag inn, stag hotel, seacombe house, coffee palace -
Victorian Aboriginal Corporation for Languages
Periodical, Australian Institute of Aboriginal and Torres Strait Islander Studies, Australian Aboriginal studies : journal of the Australian Institute of Aboriginal and Torres Strait Islander Studies, 2009
Darkness and a little light: ?Race? and sport in Australia Colin Tatz (AIATSIS & Australian National University) and Daryl Adair (University of Technology Sydney) Despite ?the wonderful and chaotic universe of clashing colors, temperaments and emotions, of brave deeds against odds seemingly insuperable?, sport is mixed with ?mean and shameful acts of pure skullduggery?, villainy, cowardice, depravity, rapaciousness and malice. Thus wrote celebrated American novelist Paul Gallico on the eve of the Second World War (Gallico 1938 [1988]:9-10). An acute enough observation about society in general, his farewell to sports writing also captures the ?clashing colors? in Australian sport. In this ?land of the fair go?, we look at the malice of racism in the arenas where, as custom might have it, one would least want or expect to find it. The history of the connection between sport, race and society - the long past, the recent past and the social present - is commonly dark and ugly but some light and decency are just becoming visible. Coming to terms: ?Race?, ethnicity, identity and Aboriginality in sport Colin Tatz (AIATSIS & Australian National University) Notions of genetic superiority have led to some of the world?s greatest human calamities. Just as social scientists thought that racial anthropology and biology had ended with the cataclysm of the Second World War, so some influential researchers and sports commentators have rekindled the pre-war debate about the muscular merits of ?races? in a new discipline that Nyborg (1994) calls the ?science of physicology?. The more recent realm of racial ?athletic genes?, especially within socially constructed black athletic communities, may intend no malice but this search for the keys to their success may well revive the old, discredited discourses. This critical commentary shows what can happen when some population geneticists and sports writers ignore history and when medical, biological and sporting doctrines deriving from ?race? are dislocated from any historical, geographic, cultural and social contexts. Understanding discourses about race, racism, ethnicity, otherness, identity and Aboriginality are essential if sense, or nonsense, is to be made of genetic/racial ?explanations? of sporting excellence. Between the two major wars boxing was, disproportionately, a Jewish sport; Kenyans and Ethiopians now ?own? middle- and long-distance running and Jamaicans the shorter events; South Koreans dominate women?s professional golf. This essay explores the various explanations put forward for such ?statistical domination?: genes, biochemistry, biomechanics, history, culture, social dynamics, the search for identity, alienation, need, chance, circumstances, and personal bent or aptitude. Traditional games of a timeless land: Play cultures in Aboriginal and Torres Strait Islander communities Ken Edwards (University of Southern Queensland) Sports history in Australia has focused almost entirely on modern, Eurocentric sports and has therefore largely ignored the multitude of unique pre- European games that are, or once were, played. The area of traditional games, especially those of Aboriginal and Torres Strait Islander peoples, is an important aspect of the cultural, social and historical experiences of Indigenous communities. These activities include customs of play that are normally not associated with European notions of competitive sport. Overall, this paper surveys research undertaken into traditional games among Indigenous Australians, as well as proposals for much needed further study in this area. Culture, ?race? and discrimination in the 1868 Aboriginal cricket tour of England David Sampson As a consequence of John Mulvaney?s important historical research, the Aboriginal cricket and performance tour of Britain in 1868 has in recent decades become established as perhaps the most famous of all public events in contact history involving Aborigines, white settlers and the British metropolis. Although recognition of its importance is welcome and significant, public commemorations of the tour have enveloped the tour in mythologies of cricket and nation. Such mythologies have obscured fundamental aspects of the tour that were inescapable racial and colonial realities of the Victorian era. This reappraisal of the tour explores the centrality of racial ideology, racial science and racial power imbalances that enabled, created and shaped the tour. By exploring beyond cricketing mythology, it restores the central importance of the spectacular performances of Aboriginal skills without which the tour would have been impossible. Such a reappraisal seeks to fully recognise the often trivialised non-cricketing expertise of all of the Aboriginal performers in 1868 for their achievement of pioneering their unique culture, skills and technologies to a mass international audience. Football, ?race? and resistance: The Darwin Football League, 1926?29 Matthew Stephen (Northern Territory Archive Service) Darwin was a diverse but deeply divided society in the early twentieth century. The Commonwealth Government introduced the Aboriginals Ordinance 1911 in the Northern Territory, instituting state surveillance, control and a racially segregated hierarchy of whites foremost, then Asians, ?Coloureds? (Aborigines and others of mixed descent) and, lastly, the so-called ?full-blood? Aborigines. Sport was important in scaffolding this stratification. Whites believed that sport was their private domain and strictly controlled non-white participation. Australian Rules football, established in Darwin from 1916, was the first sport in which ?Coloured? sportsmen challenged this domination. Football became a battleground for recognition, rights and identity for all groups. The ?Coloured? community embraced its team, Vesteys, which dominated the Northern Territory Football League (NTFL) in the 1920s. In 1926, amidst growing racial tension, the white-administered NTFL changed its constitution to exclude non-white players. In reaction, ?Coloured? and Chinese footballers formed their own competition - the Darwin Football League (DFL). The saga of that colour bar is an important chapter in Australia?s football history, yet it has faded from Darwin?s social memory and is almost unknown among historians. That picture - Nicky Winmar and the history of an image Matthew Klugman (Victoria University) and Gary Osmond (The University of Queensland) In April 1993 Australian Rules footballer Nicky Winmar responded to on-field racist abuse by lifting his jersey and pointing to his chest. The photographic image of that event is now famous as a response to racial abuse and has come to be seen as starting a movement against racism in football. The racial connotations in the image might seem a foregone conclusion: the power, appeal and dominant meaning of the photograph might appear to be self-evident. But neither the fame of the image nor its racial connotation was automatic. Through interviews with the photographers and analysis of the use of the image in the media, we explore how that picture came to be of such symbolic importance, and how it has remained something to be re-shown and emulated. Rather than analyse the image as a photograph or work of art, we uncover some of its early history and explore the debates that continue to swirl around its purpose and meaning. We also draw attention to the way the careful study of photographs might enhance the study of sport, race and racism. ?She?s not one of us?: Cathy Freeman and the place of Aboriginal people in Australian national culture Toni Bruce (University of Waikato) and Emma Wensing (Independent scholar) The Sydney 2000 Olympic Games generated a national media celebration of Aboriginal 400 metre runner Cathy Freeman. The construction of Freeman as the symbol of national reconciliation was evident in print and on television, the Internet and radio. In contrast to this celebration of Freeman, the letters to the editor sections of 11 major newspapers became sites for competing claims over what constitutes Australian identity and the place of Aboriginal people in national culture. We analyse this under-explored medium of opinion and discuss how the deep feelings evident in these letters, and the often vitriolic responses to them, illustrate some of the enduring racial tensions in Australian society. Sport, physical activity and urban Indigenous young people Alison Nelson (The University of Queensland) This paper challenges some of the commonly held assumptions and ?knowledges? about Indigenous young people and their engagement in physical activity. These include their ?natural? ability, and the use of sport as a panacea for health, education and behavioural issues. Data is presented from qualitative research undertaken with a group of 14 urban Indigenous young people with a view to ?speaking back? to these commentaries. This research draws on Critical Race Theory in order to make visible the taken-for-granted assumptions about Indigenous Australians made by the dominant white, Western culture. Multiple, shifting and complex identities were expressed in the young people?s articulation of the place and meaning of sport and physical activity in their lives. They both engaged in, and resisted, dominant Western discourses regarding representations of Indigenous people in sport. The paper gives voice to these young people in an attempt to disrupt and subvert hegemonic discourses. An unwanted corroboree: The politics of the New South Wales Aboriginal Rugby League Knockout Heidi Norman (University of Technology Sydney) The annual New South Wales Aboriginal Rugby League Knockout is so much more than a sporting event. Involving a high level of organisation, it is both a social and cultural coming together of diverse communities for a social and cultural experience considered ?bigger than Christmas?. As if the planning and logistics were not difficult enough, the rotating-venue Knockout has been beset, especially since the late 1980s and 1990s, by layers of opposition and open hostility based on ?race?: from country town newspapers, local town and shire councils, local business houses and, inevitably, the local police. A few towns have welcomed the event, seeing economic advantage and community good will for all. Commonly, the Aboriginal ?influx? of visitors and players - people perceived as ?strangers?, ?outsiders?, ?non-taxpayers? - provoked public fear about crime waves, violence and physical safety, requiring heavy policing. Without exception, these racist expectations were shown to be totally unfounded. Research report: Recent advances in digital audio recorder technology provide considerable advantages in terms of cost and portability for language workers.b&w photographs, colour photographs, tablessport and race, racism, cathy freeman, nicky winmar, rugby league, afl, athletics, cricket, digital audio recorders -
Vision Australia
Photograph - Image, The Dickinson Honour Board
This board was created to honour the work undertaken to administrate the Foundation by it's board and voluntary members. It is inscribed as follows: "The Queensland Foundation for Blind People Inc, (formerly the Queensland Placement & Training Centre for the Blind Inc) est. 1956. The Dickinson Honour Board. Foundation Director - H.C. Dickinson M.B.E. Presidents: H.W. Thiele, T.M.Bryce, K.W. Hooper MLA, B.T. Turnley OBE, D.M. Cameron MP. Vice-Presidents: K.W. Hooper MLA, A. Hartshorn AM, K.M. Dickinson AM, T.M. Bryce, S. Cliffe, M. Dickinson AM. Secretaries: M.M. Bird, J. Maclean, J. Cummins, L. Smith, M. Orr, I. Bauman, W. Hooper, L. Eadie, C. Guthrie, R. Pearl, R. Stevens, D. Donaldson, P. Caulley, J. Mitchell. Treasurers: G.E. Ross, M.N. Solomon, J. MItchell. Meritorious Service: C. Alroe, J, Ball, E. Bebb, T. Blackford, C. Boyle, T. Boyle, E. Brown, B. Coleman, S & L Cowen, T. Davidson, D. Drake, V. England, F. Feint, S. Granata. G. Hannam, S. Hanarahan, E. Heap, A. Henderson, D. Henderson, A. Horn, C. Hudson, H. Jahoda, J. Johns, E. Laws, M. Loxton, P. Ludlow, E. Morgan, T. Mulroney, T. McLearie, R. Newitt, N. Noad, D. Pauls, B & E Perry, E. Person, M. Persse, M. Porteous, N. Price, R. Prineas, P. Robinson, S. Russ, K. Scells, E. Searle, N. Shannon, E. Squires, I. Stewart, J. Thomas, E. Turnball, J. Vaughan, M. Wilde, J. Warren, J. Shaw, A. Brown, P. Ruhle, R. Mulholland, N. Crossman, E. Power, A. Power, S. Boucat, K. Fitzgerald, A. Hartshorn, D. Cameron. Trustees: M.M. Bird, F.R. Taylor, B.T. Tunley OBE, K.W. Stone OBE, S. Jones BEM, H.C. Dickinson MBE, K.E. Scells, R. Stevens Life Members: M.M. Bird, J. Light, A.J Lobb, A. Hartshorn, M. Dickinson AM, E. Searle, D. Henderson OAM, M. Solomon, D, Cameron Board with rows of etched platesroyal blind foundation of queensland, nameplates -
Robin Boyd Foundation
Slide, Robin Boyd, 1967
Robin Boyd was appointed Exhibits Architect for the Australian Pavilion at Expo ‘67 in Montreal. The garden outside the pavilion featured a sculptural pool, a coral display, animal pool, a pit for kangaroos and Eucalypts and other native plants. The indoor exhibits covered aspects of Australian art and culture, architecture, industrial design and scientific innovation, such as the Snowy Mountains Hydro-Electric Power Scheme, the Parkes radio telescope, the design of Canberra, and the Australian way of life.Colour slide in a mount. Colour slide in a mount. Gondola, Thailand Pavilion (background left), African Place (foreground right, Architect: John Andrews), Expo '67, Montreal, Canada Made in Australia / 26 / MAY 67M6 / 19 (Handwritten)expo 67, montreal, robin boyd, slide