Melbourne Glass Bottle Works Co Pty Ltd (1903 - 1915) Registered in Victoria in 1903 the company amalgamated with the Waterloo Glass Bottle Works Ltd in 1915 to form Australian Glass Manufacturers Company, Limited. Melbourne Glass Bottle Works Spotswood 1872- 1915 The Melbourne Glass Bottle Works (former), comprising a complex of buildings constructed between 1880 and 1940, at Booker Street, Douglas Parade, 2-38 Hudson Road, Raleigh Street and Simcock Avenue, Spotswood. The former glassworks was established in 1890 and originally made bottles for pharmacists Felton Grimwade before it was sold to the State Government by US multinational, OI glass manufacturers A small clear glass bottle with a piece of the cork stopper* pharmacy, medicines, asthma, respiratory diseases, early settlers, market gardeners, moorabbin, bentleigh, cheltenham, glass bottles, melbourne glass bottle works. felton grimwade, spotswood,

Sunbury United Soccer Club was established in 1973 by a group of expatriate Europeans who wanted to play the game they grew up with. Their first games were played on the recreation reserve in Evans Street on the ground designed for AFL football. (Now the site of a shopping complex). In August 1975, Sunbury United moved to its present home on seven and a half acres of sporting ground at Langama Park in Mitchells Lane . Over the years that area has developed and there are now three senior, and two junior soccer pitches with two cricket pitches and practice nets. Although there is still room for improvement to the floodlighting on the main pitch, the night games have proven successful. The Sunbury United Soccer Club has played an important roll in district competition and is one of the many sporting clubs in Sunbury.A non-digital black and white photograph of a soccer ground showing a set of goal posts with the clubrooms and change rooms in the background.soccer, sunbury united soccer club, football, langama park, mitchells lane

Green covered community information booklet for Ringwood residents covering Council Representatives' and Service Organisations' contact details, Council Finances, Immunizations, Major Works, Planning (Live Theatre/Functions Centre), Health and Community Services, Christmas Holiday Play Centres, Lord Mayor's Children's Camp, Rates, Municipal Elections, Dogs, Rubbish Tip, Overhanging Foliage, Vandalism, Building By-laws, Fred Dwerryhouse Swimming Centre, Planning (Commercial Centre), Netball Complex, Citizenship Ceremonies, Mini Bikes, School Crossing Supervision, Ringwood Garden Competition, and Coming Events (International Year of the Child, Family Fun Day, Highland Carnival). Includes two City of Ringwood Free Tipping Vouchers valid until the end of 1979.Mayor's Message - Cr. A.B. Henderson, J.P. Back cover - Green tinted photograph of Ringwood Memorial Tower captioned: Ringwood - "A Happening Community"rinx

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

The place shown on the photo still has an important relevance for the local history in Launcestown Tasmania. This place represents one of the most relevant touristic places of Tasmania and brings to the local government a very good amount of income for local developments and self management of the place. The date of this postcard is unknown but probably around 1980 as this place apparently was opened by 1979. The connection to Legacy is unknown but other postcards were sent to the Comradeship Committee when Legatees travelled.Comradeship Committee often received postcards from Legatees when they were away on holidays.Glossy postcard, with serrated edges, showing a photo of the Penny Royal Gunpowder Mills.Handwritten text: 'They have the small cannons on the boat - noisy and scared Alison but quite effective really. The whole complex is build in an old quarry', in black pen. Back side: Printed in paper, PENNY ROYAL GUNPOWDER MILLS / The 10 Gun Sloop-of-War 'Sandpiper' sails to prove its gun and powder in battle against those on Fort Island. / Douglas Souvenir Distributors [Logo] / DS 118, Colour Photography and Copyright by Robert Schorn. Printed in Australia. / I LIKE TO BE SEEN - PLEASE don't send me in an ENVELOPE. / Published by Douglas Souvenir Distributors - Tasmania (004) 312806tasmania, souvenir

This item was bought as a souvenir of Warrnambool in the mid 20th century when cigarette smoking was more widespread and was socially acceptable. Tourism in Warrnambool has been an important industry for over 100 years. In the late 19th century Warrnambool was promoted as a spa resort with its mild climate, sea bathing and its hot and cold sea water baths complex. Today visitors come in winter for the May Racing Carnival and to see the Southern Right whales at Logans Beach and in summer they come for a beach holiday. The image on the dish shows the Warrnambool Hopkins River near its mouth. The boatshed is no longer there with sections of the building being relocated to a site in Henna Street and used for indoor recreational purposes.This ash tray is retained as an example of a local tourist souvenir sold to tourists in the 1960s. This is a small white china dish made in an oval shape and slightly raised from the surface on which it sits. The ends of the dish have four gold coloured indents for stubbing cigarettes. There is a gold rim around the edge of the dish and a coloured image of the old boat shed and jetty on the Hopkins River in Warrnambool. On the base of the dish is the logo of the maker and printed details.Warrnambool Hopkins River Alka Kunst Bavaria tourism in warrnambool, history of warrnambool

Sponsored by Alfred M. Nicholas the Deco era Mission building facing Beach street built by Architect Harry Norris opened in 1937. The building was then in WW2 requisitioned with the Mission returning to full use of the complex some years after the War ended. The building in later years was relinquished due to decreasing shipping at Port Melbourne and need to consolidate seafarers services in the Central Mission at 717 Flinders St. The building was used as an art centre just prior to demolition in the 1990s. The Port Melbourne Historical and Preservation Society was instrumental in ensuring the the old foundation stone was preserved in the sea wall opposite the original site. A single brick from the building is also part of the MtSV Heritage Collection. This stone is one of the few items remaining from this building demolished in 1995.Photograph depicting the foundation stone laid on the 18 May 1937 for the new Mission in Port Melbourne.TO THE GLORY OF GOD/AND THE WELFARE OF ALL SEAFARERS / THIS FOUNDATION STONE WAS LAID BY / HIS EXCELLENCY THE GOVERNOR OF VICTORIA / THE LORD HUNTINGFIELD K.C.M.G. / MAY 18th 1937 / THIS BRANCH INSTITUTE OF / THE VICTORIA MISSIONS TO SEAMEN / WAS ERECTED THROUGH THE GENEROSITY OF / ALFRED M.NICHOLAS ESQ. / OFFICE OF HARRY A.NORRIS ARCHITECTSfoundation stone, lord huntingfield, port melbourne, beach street, art deco, brick, harry a. norris, alfred m. nicholas, maurice nicholas

In 2017 known as the Kangaroo Ground Operations Centre a facility for hire managed by the Shire of Nillumbik. On 7 February 2009 (Black Saturday) the CFA Incident Control Centre (ICC) was located here. Described in "Worst of Days: Inside the black Saturday firestorm" by Karen Kissane (access via Google books): "..the ICC is part of a mud brick complex built in the 1980s as an emergency operations centre for several agencies, including the State Emergency Service. It is also home to the headquarters of the CFA's Lower Yarra Group. A small office with a whiteboard would be the incident controller's office throughout the office, but a larger central room, with data projectors, "smart boards" and maps would house the rest of the team.."Statement of Significance From the Victorian Heritage Database (2010) What is significant? The 1988 emergency operations centre and the surrounding site to the title boundaries. How is it significant? The emergency operations centre is architecturally, aesthetically, socially and historically significant to the Shire of Nillumbik. Why is it significant? The emergency operations centre is architecturally and historically significant as a good and rare example of a large public building constructed in a 1980s version of the 'Eltham style', and as a rare attempt to adapt the 'Eltham-style' aesthetic to meet the changing demands of the Shire in the 1980s (Criteria B, D & E). The emergency operations centre is architecturally and aesthetically significant because it is constructed of mud brick and features: a central entry with a tile mural (Criterion E). The emergency operations centre is socially significant because it is a focal point for the community and has played an important role in protecting the community since 1988 (Criterion G).Two colour photographs of mud brick Emergency Operations Centre building, Kangaroo Groundbuildings, mud brick, emergency centre, kangaroo ground

These handsaws belonged to a Warrnambool furniture maker and dealer, Ernest Brighton Phillips (1875-1924). He learned cabinet making at the Warrnambool Box Works and established a furniture warehouse at the corner of Liebig and Koroit Streets in the late 1890s. By the early 20th century he had the largest furniture warehouse and factory in Victoria outside Melbourne and his furniture was sold all over Australia. He and his family lived at ‘Heatherlie’ in Koroit Street and today the site of this family home houses the retirement village complex known as ‘Heatherlie’. The makers of these saws was Robert Sorby of the Kangaroo Works in Sheffield, England. This business was established in 1928 and is one of the world’s premier manufacturers of specialist woodworking tools. These two tools are of some significance as they belonged to Ernest Phillips, a prominent businessman in Warrnambool at the end of the 19th and the beginning of the 20th centuries. These are also a good example of the type of tools used in the woodworking trade 100 years ago. These are two handsaws which belonged to Ernest Phillips. They have wooden handles attached to the blade by metal screws. One screw is missing on the larger saw. The blades are made of steel with serrated edges and they are inserted into a fold of steel along the top edge. The handles are well-worn and the blades are a little rusty. ‘Robt. Sorby Sheffield Cast Steel’ ‘E. Phillips’ ernest phillips, robert sorby, history of warrnambool

Tony Albert’s 2022 solo exhibition at Sullivan+Strumpf, Remark, continues the artist’s investigation into the imagery and identification of appropriated Indigenous Australian iconography in domestic decoration and design. Incorporating fabric from his extensive collection of ‘Aboriginalia’, Remark sees Albert expand on his acclaimed Conversations with Margaret Preston series dimensionality, critically engaging with the fabric in his own right. Like the fabric of Australian society, the appropriated Indigenous imagery printed on souvenir tea towels intertwines in a complicated web of national identity. These are not images by Aboriginal people and our voices and autonomy continued to be silenced through the object’s inauthenticity. As a country we must reconcile with these objects’ very existence. They are painful reiterations of a violent and oppressive history, but we also cannot hide or destroy them because they are an important societal record that should not be forgotten. As an artist this juxtaposition and tension fascinates me. Tony Albert’s multidisciplinary practice investigates contemporary legacies of colonialism, prompting audiences to contemplate the human condition. Drawing on both personal and collective histories, Albert explores the ways in which optimism can be utilised to overcome adversity. His work poses important questions such as how do we remember, give justice to, and rewrite complex and traumatic histories. Albert’s technique and imagery are distinctly contemporary, displacing traditional Australian Aboriginal aesthetics with an urban conceptuality. Appropriating textual references from sources as diverse as popular music, film, fiction, and art history, Albert plays with the tension arising from the visibility, and in-turn, the invisibility of Aboriginal People across the news media, literature, and the visual world. australian first nations art, colonialisation

Tony Albert’s 2022 solo exhibition at Sullivan+Strumpf, Remark, continues the artist’s investigation into the imagery and identification of appropriated Indigenous Australian iconography in domestic decoration and design. Incorporating fabric from his extensive collection of ‘Aboriginalia’, Remark sees Albert expand on his acclaimed Conversations with Margaret Preston series dimensionality, critically engaging with the fabric in his own right. Like the fabric of Australian society, the appropriated Indigenous imagery printed on souvenir tea towels intertwines in a complicated web of national identity. These are not images by Aboriginal people and our voices and autonomy continued to be silenced through the object’s inauthenticity. As a country we must reconcile with these objects’ very existence. They are painful reiterations of a violent and oppressive history, but we also cannot hide or destroy them because they are an important societal record that should not be forgotten. As an artist this juxtaposition and tension fascinates me. Tony Albert’s multidisciplinary practice investigates contemporary legacies of colonialism, prompting audiences to contemplate the human condition. Drawing on both personal and collective histories, Albert explores the ways in which optimism can be utilised to overcome adversity. His work poses important questions such as how do we remember, give justice to, and rewrite complex and traumatic histories. Albert’s technique and imagery are distinctly contemporary, displacing traditional Australian Aboriginal aesthetics with an urban conceptuality. Appropriating textual references from sources as diverse as popular music, film, fiction, and art history, Albert plays with the tension arising from the visibility, and in-turn, the invisibility of Aboriginal People across the news media, literature, and the visual world. australian first nations art, colonialisation

Tony Albert’s 2022 solo exhibition at Sullivan+Strumpf, Remark, continues the artist’s investigation into the imagery and identification of appropriated Indigenous Australian iconography in domestic decoration and design. Incorporating fabric from his extensive collection of ‘Aboriginalia’, Remark sees Albert expand on his acclaimed Conversations with Margaret Preston series dimensionality, critically engaging with the fabric in his own right. Like the fabric of Australian society, the appropriated Indigenous imagery printed on souvenir tea towels intertwines in a complicated web of national identity. These are not images by Aboriginal people and our voices and autonomy continued to be silenced through the object’s inauthenticity. As a country we must reconcile with these objects’ very existence. They are painful reiterations of a violent and oppressive history, but we also cannot hide or destroy them because they are an important societal record that should not be forgotten. As an artist this juxtaposition and tension fascinates me. Tony Albert’s multidisciplinary practice investigates contemporary legacies of colonialism, prompting audiences to contemplate the human condition. Drawing on both personal and collective histories, Albert explores the ways in which optimism can be utilised to overcome adversity. His work poses important questions such as how do we remember, give justice to, and rewrite complex and traumatic histories. Albert’s technique and imagery are distinctly contemporary, displacing traditional Australian Aboriginal aesthetics with an urban conceptuality. Appropriating textual references from sources as diverse as popular music, film, fiction, and art history, Albert plays with the tension arising from the visibility, and in-turn, the invisibility of Aboriginal People across the news media, literature, and the visual world. australian first nations art, colonialisation

The company developed from the merchant activities of John Ford Strachan who commenced business in the Port Phillip settlement during 1836. A series of amalgamations from 1876 to 1896 extended the interests of the firm which registered on 23 Dec 1897 as Strachan, Murray & Shannon Pty Ltd. The company floated as a public company on 12 Sep 1919 and changed its name to Strachan & Co Ltd on 1 Jul 1931. The business was taken over by Dennys Lascelles Ltd and deregistered on 2 Aug 1978. The Stachan Woolstore complex on the corner of Moorabool Street and Brougham Street, Geelong was first built in 1840 and has been systematically redesigned over the years. Currently only the facade remains.Brown leather satchel bag with a handle and straps which fasten with metal belt clips. Gold printed lettering is featured on the front. Front [printed]: S. M. & S. LTD. / GEELONG / H. H. H.bag, working life, geelong, leather satchel

a. Extensive and detailed correspondence and documentation re site for Performing Arts Centre 1975/76; Letters from City Engineers; Town Clerk; Dr Westbrook (Ministry for the Arts); Drama officer (Ministry for the Arts); includes list in of Arts Council sponsored performances over the period 1971-1975; questionnaire relating to a Cultural & Arts Centre; list of Potential Users of an Art Centre Complex; minutes/correspondence re The Bendigo Urban Renewal Liaison Committee; plans for sites. Would need to be read and examined in its entirety due to complexity of the issue; b. Correspondence between City of Bendigo and Bendigo Arts Council (April 1976); Correspondence between City of Bendigo and Arts Council of Australia (Feb/Mar 1974) with Valuer's Letter and handwritten notes of sub-committee meeting.

In 1875, the Rocky Mountain Extended Gold Sluicing Company Ltd was created, utilising the previous Rocky Mountain claim for the area near Lake Sambell. The company employed A.L Martin to survey an area for a tunnel underneath Beechworth and Johnson Stephens to dig it. The tunnel was built at a rate of 40 feet a month and eventually measured 800 metres. The tunnel was a true accomplishment both in the present and during the 19th century. It was considered to be a marvelous engineering feat. Beechworth is renowned for its hydraulic sluice method of mining. This involved soil being exposed to torrents of water from high-pressure hoses. From 1876 until its closure in 1921, the mine produced an astounding 47,926 ozs of gold. Companies like this were the source of income for many Chinese gold-diggers who sought to make their fortune on the goldfields of Beechworth. During the height of the rush, the town had around 7,000 Chinese inhabitants living on the outskirts of town as they were not permitted to live within Beechworth itself.The search for gold is ingrained into the history of Victoria and therefore, images like this one which portrays 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 undertaken which provides insight into the impact of sluicing on the environment at a time when it was done. This image of the Rocky Mountain mine is historically significant as the mining complex is now non-existent, with the only remains being the tunnel built in 1880 by the company, which was considered one of the greatest engineering feats of the time. The image also provides a first-hand look into the social and cultural networks at play during the 19th century with racial segregation of the Chinese at the 'Chinese Camp', as well as an insight into Beechworth's origins during the Gold Rush.A sepia rectangular photograph printed on matte photographic paper as a postcardReverse: Historic Beechworth / 7792.1 / ROCKY MOUNTAIN MINE / Viewed from the “Chinese Camp”, shown partly in the foreground, we see the central plant of the famous Rocky Mountain Mining Company. This extensive complex, of which nothing remains, was situated between Silver Creek and the present Lake Sambell area. The company was responsible for a tunnel cut through solid bedrock underneath the town of Beechworth and surfacing near the keystone bridge on the Wangaratta side. Completed in 1880 it was declared to be one of the greatest engineering feats in Australia. The tunnel is still basically intact today. / Series by Wooragee Graphics: Historic Beechworth. / COPYRIGHT BURKE MUSEUM / No.72 beechworth, rocky mountain mine, sluicing, gold rush, mining, gold

A draw knife or drawing knife, draw shave, shaving knife is a traditional woodworking hand tool used to shape wood by removing shavings. It consists of a blade with a handle at each end. The blade is much longer along the cutting edge than it is deep (from cutting edge to back edge). It is pulled or "drawn" toward the user. A draw knife is commonly used to remove large slices of wood for flat faceted work, to debark trees, or to create roughly rounded or cylindrical billets for further work on a lathe, or it can shave like a spokeshave plane, where finer finishing is less of concern than a rapid result. The thin blade lends itself to create complex concave or convex curves such as in making staves for barrels.A specialised tool used in many different types of wood working and in the making of barrels, this type of tool has been used for many hundreds of years by coopers and other woodworking craftsmen all around the world. It is a tool that has not changed in design during this time and is still used today by craftsmen in the making of wooden barrels for the storage of wines etc. However this item at this time cannot be associated with an historical event, person or place, provenance is unknown, item assessed as a collection asset as it is believed to have been produced before 1950.Draw knife with metal blade and two wooden handlesNoneflagstaff hill, warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, draw knife, coopers tools, woodworking tools, knife, cooperage

A draw knife or drawing knife, draw shave, shaving knife is a traditional woodworking hand tool used to shape wood by removing shavings. It consists of a blade with a handle at each end. The blade is much longer along the cutting edge than it is deep (from cutting edge to back edge). It is pulled or "drawn" toward the user. A draw knife is commonly used to remove large slices of wood for flat faceted work, to debark trees, or to create roughly rounded or cylindrical billets for further work on a lathe, or it can shave like a spokeshave plane, where finer finishing is less of concern than a rapid result. The thin blade lends itself to create complex concave or convex curves such as in making staves for barrels.A specialised tool used in many different types of wood working and in the making of barrels, this type of tool has been used for many hundreds of years by coopers and other woodworking craftsmen all around the world. It is a tool that has not changed in design during this time and is still used today by craftsmen in the making of wooden barrels for the storage of wines etc.Draw knife with metal blade and two wooden handlesNoneflagstaff hill, warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, draw knife, coopers tools, woodworking tools, knife, cooperage

A draw knife or drawing knife, draw shave, shaving knife is a traditional woodworking hand tool used to shape wood by removing shavings. It consists of a blade with a handle at each end. The blade is much longer along the cutting edge than it is deep (from cutting edge to back edge). It is pulled or "drawn" toward the user. A draw knife is commonly used to remove large slices of wood for flat faceted work, to debark trees, or to create roughly rounded or cylindrical billets for further work on a lathe, or it can shave like a spokeshave plane, where finer finishing is less of concern than a rapid result. The thin blade lends itself to create complex concave or convex curves such as in making staves for barrels.A specialised tool used in many different types of wood working and in the making of barrels, this type of tool has been used for many hundreds of years by coopers and other woodworking craftsmen all around the world. It is a tool that has not changed in design during this time and is still used today by craftsmen in the making of wooden barrels for the storage of wines etc.Draw knife with metal blade and two wooden handlesMarkings on blade unreadable flagstaff hill, warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, draw knife, coopers tools, woodworking tools, knife, cooperage

A draw knife or drawing knife, draw shave, shaving knife is a traditional woodworking hand tool used to shape wood by removing shavings. It consists of a blade with a handle at each end. The blade is much longer along the cutting edge than it is deep (from cutting edge to back edge). It is pulled or "drawn" toward the user. A draw knife is commonly used to remove large slices of wood for flat faceted work, to debark trees, or to create roughly rounded or cylindrical billets for further work on a lathe, or it can shave like a spokeshave plane, where finer finishing is less of concern than a rapid result. The thin blade lends itself to create complex concave or convex curves such as in making staves for barrels.A specialised tool used in many different types of wood working and in the making of barrels, this type of tool has been used for many hundreds of years by coopers and other woodworking craftsmen all around the world. It is a tool that has not changed in design during this time and is still used today by craftsmen in the making of wooden barrels for the storage of wines etc. However this item at this time cannot be associated with an historical event, person or place, provenance is unknown, item assessed as a collection asset as it is believed to have been produced before 1950.Draw knife with metal blade and two wooden handlesNoneflagstaff hill, warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, draw knife, coopers tools, woodworking tools, knife, cooperage

A draw knife or drawing knife, draw shave, shaving knife is a traditional woodworking hand tool used to shape wood by removing shavings. It consists of a blade with a handle at each end. The blade is much longer along the cutting edge than it is deep (from cutting edge to back edge). It is pulled or "drawn" toward the user. A draw knife is commonly used to remove large slices of wood for flat faceted work, to debark trees, or to create roughly rounded or cylindrical billets for further work on a lathe, or it can shave like a spokeshave plane, where finer finishing is less of concern than a rapid result. The thin blade lends itself to create complex concave or convex curves such as in making staves for barrels.A specialised tool used in many different types of wood working and in the making of barrels, this type of tool has been used for many hundreds of years by coopers and other woodworking craftsmen all around the world. It is a tool that has not changed in design during this time and is still used today by craftsmen in the making of wooden barrels for the storage of wines etc. However this item at this time cannot be associated with an historical event, person or place, provenance is unknown, item assessed as a collection asset as it is believed to have been produced before 1950.Draw knife with metal curved blade and two wooden handlesNoneflagstaff hill, warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, draw knife, coopers tools, woodworking tools, knife, cooperage

A draw knife or drawing knife, draw shave, shaving knife is a traditional woodworking hand tool used to shape wood by removing shavings. It consists of a blade with a handle at each end. The blade is much longer along the cutting edge than it is deep (from cutting edge to back edge). It is pulled or "drawn" toward the user. A draw knife is commonly used to remove large slices of wood for flat faceted work, to debark trees, or to create roughly rounded or cylindrical billets for further work on a lathe, or it can shave like a spokeshave plane, where finer finishing is less of concern than a rapid result. The thin blade lends itself to create complex concave or convex curves such as in making staves for barrels.A specialised tool used in many different types of wood working and in the making of barrels, this type of tool has been used for many hundreds of years by coopers and other woodworking craftsmen all around the world. It is a tool that has not changed in design during this time and is still used today by craftsmen in the making of wooden barrels for the storage of wines etc. However this item at this time cannot be associated with an historical event, person or place, provenance is unknown, item assessed as a collection asset as it is believed to have been produced before 1950.Draw Knife bent blade, metal with two wooden handlesNoneflagstaff hill, warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, draw knife, coopers tools, woodworking tools, knife, cooperage

The Gipps Street Wesleyan Methodist Church of 1874 and the adjoining school hall, were built in the Collingwood Flat area - one of the municipality's poorest areas. In 1903, the Collingwood Methodist Mission was established with its headquarters in the Gipps Street Church. Six Methodist Missions were created in inner Melbourne. Three churches were operated by the Collingwood Mission. They were: Sackville Street Collingwood, Elizabeth Street, North Richmond (demolished), and Gipps Street Collingwood (demolished). The Mission operated until approximately 1930. The Wesleyan Church and School in Sackville St. Collingwood was built in 1886 and used as a church for 65 years. It was also part of the Collingwood Methodist Mission before being converted to an industrial/commercial complex. The church was auctioned on 3 March 1984.The cutting gives information about the history of the Church at 25 Sackville St. Collingwood prior to its auction sale on 3 March 1984gipps st. methodist church, les gorrie, collingwood mission, sackville street church, wesleyan

The Gipps Street Wesleyan Methodist Church of 1874 and the adjoining school hall, were built in the Collingwood Flat area - one of the municipality's poorest areas. In 1903, the Collingwood Methodist Mission was established with its headquarters in the Gipps Street Church. Six Methodist Missions were created in inner Melbourne. Three churches were operated by the Collingwood Mission. They were: Sackville Street Collingwood, Elizabeth Street, North Richmond (demolished), and Gipps Street Collingwood (demolished). The Mission operated until approximately 1930. The Wesleyan Church and School in Sackville St. Collingwood was built in 1886 and used as a church for 65 years. It was also part of the Collingwood Methodist Mission before being converted to an industrial/commercial complex. The church was auctioned on 3 March 1984.B & W exterior view of the Sackville St. Collingwood Methodist Mission. gipps st. methodist church, les gorrie, collingwood mission, sackville street church, wesleyan

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 object. 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 worker to pull the plane ahead of the master who guided it. A vintage tool made by an unknown maker, this item was made commercially for firms and individuals who worked in wood and needed a tool that could produce a ornamental finish to timber. These profiled planes came in various shapes and sizes to achieve a decorative finish. 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. Moulding Plane, concave cut.Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

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 object. 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 worker to pull the plane ahead of the master who guided it. A vintage tool made by an unknown maker, 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 to produce a decorative moulding for a piece of furniture, door trims etc, or other timber items that had to be accomplished by using hand tools and in particular one of these types of planes. Profiled planes came in various shapes and sizes to achieve the required decorative finish. A significant tool from the mid to late 19th century that today is 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. Moulding Plane W size has 4 screws holding side together (repair)J Allin GN stamped inside W size 16 one end and Inglis R F Sharp on other end.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

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 object. 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 worker to pull the plane ahead of the master who guided it.A vintage tool 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 was done by hand using one of these types of plane. A significant item 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 was made predominately by hand and with tools that were themselves hand made shows the craftsmanship used to make such a unique item. Moulding Plane Hollow type No15 J Hastie Stamped EG W.M flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

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 object. 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 moulding 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.A vintage tool made by an unknown 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 Rabbet Hollow type Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village