Photograph probably for promotional purposes, probably of a "David Sowden & Sons" loom No 388. Photograph was among items from Yarra Falls Mill.Photograph, black and white, of a loom, No388.388textile machinery weaving, yarra falls mill david sowden & sons, weaving looms, weaving machinery, textile machinery, weaving

Photograph probably for promotional purposes, probably of a "David Sowden & Sons" loom No 387. Photograph was among items from Yarra Falls Mill.Photograph, black and white, of a loom, No387.387textile machinery weaving, yarra falls mill david sowden & sons, weaving looms, weaving machinery, textile machinery, weaving

Photograph probably for promotional purposes, probably of a "David Sowden & Sons" loom No 420. Photograph was among items from Yarra Falls Mill.Photograph, black and white, of a loom, No420.387textile machinery weaving, yarra falls mill david sowden & sons, weaving looms, weaving machinery, textile machinery, weaving

Photograph probably for promotional purposes, probably of a "David Sowden & Sons" loom No 451 Photograph was among items from Yarra Falls Mill.Photograph, black and white, of a loom, No 451.No 451textile machinery weaving, yarra falls mill david sowden & sons, weaving looms, weaving machinery, textile machinery, weaving

Photograph probably for promotional purposes, of a "JDavid Sowden & Sons" loom No167 (or 107). Photograph was among items from Yarra Falls Mill.Photograph, black and white, of a "David Sowden & Sons" loom, No167 (or 107)107textile machinery weaving, yarra falls mill, weaving looms, weaving machinery, textile machinery, weaving

Photograph probably for promotional purposes, of part of a "David Sowden & Sons" loom, No 386. Photograph was among items from Yarra Falls Mill.Photograph, black and white, of part of a "David Sowden & Sons" loom, No 386.386textile machinery weaving, yarra falls mill david sowden & sons, weaving looms, weaving machinery, textile machinery, weaving

Photograph probably used for promotional purposes, of a "David Sowden & Sons" loom No 170. Photograph was among items from Yarra Falls Mill.Photograph, black and white, of a "David Sowden & Sons" loom, No 170.170textile machinery weaving, yarra falls mill david sowden & sons, weaving looms, weaving machinery, textile machinery, weaving

Photograph probably for promotional purposes, of a "David Sowden & Sons" Dobby loom No 165. Photograph was among items from Yarra Falls Mill.Photograph, black and white, of a "David Sowden & Sons" Dobby loom, No165.DAVID SOWDEN & SONS/LOOMS/Double Lever /.../Dobby./..SHIPLEY/ NO165textile machinery weaving, yarra falls mill david sowden & sons, weaving looms, weaving machinery, textile machinery, weaving

Photograph probably for promotional purposes, of a "David Sowden and Sons" loom No 542. Photograph was with other photographs in an envelope from Yarra Falls Mill.Photograph, sepia, of a "David Sowden & Sons" loom No 542.542textile machinery weaving, yarra falls mill david sowden & sons, weaving looms, weaving machinery, textile machinery, weaving

Photograph probably for promotional purposes, of a "David Sowden and Sons" loom No 543. Photograph was with other photographs in an envelope from Yarra Falls Mill.Photograph, black and white, of a "David Sowden & Sons" loom No 543.543textile machinery weaving, yarra falls mill david sowden & sons, weaving looms, weaving machinery, textile machinery, weaving

Photograph probably for promotional purposes, of a "David Sowden & Sons" loom No296. Photograph was with other photographs in an envelope from Yarra Falls Mill.Photograph, black and white, of a "David Sowden & Sons" loom No 296.296textile machinery weaving, yarra falls mill david sowden & sons, weaving looms, weaving machinery, textile machinery, weaving

Photograph probably for promotional purposes, of part of a "David Sowden and Sons" loom No 144. Photograph was with other photographs from Yarra Falls Mill.Copy photograph, black and white, probably of a "David Sowden & Sons" loom, No 460.460 Copy of ...Corset Loom/ from 1910/...textile machinery weaving, yarra falls mill david sowden & sons, weaving looms, weaving machinery, textile machinery, weaving

The Purpose of this manual is to describe the documentary archives of the Department of Crown Lands and Survey (Lands Department) and Explain, how they can be used for historical researchYellow card Cover Black Print and B/W Photo of two wooden buildings The Lands Manual A Finding guide to Victorian Lands Records 1836-1983 Written by Peter Cabena, Heather McRae & Elizabeth Baldinstawell

Photographs were most likely used for promotional purposes. Loom made by David Crabtree & Son, a loom manufacturer based in Laisterdyke, Bradford.Black and white blue tinged photograph of a loom in landscape format.Stamped top right corner - David Crabtree & Son HOPE IRON WORKS, Laisterdyke, BRADFORDtextile machinery, wool manufacture, wool, loom

The Norman Oliver collection. Norman Oliver was three times Mayor of Bendigo - 1950-51, 1964-65, 1970-71. Eleven pages of typed instructions on the conduct of meetings. Small page stapled to the front with Conduct of Meetings handwritten. Title of body of text : Conduct of meetings and duties of Chairmen. Complexity of types of gatherings of men and women for the purpose of conducting some form of mutual enterprise. Additions and corrections written in pencil.bendigo, council, norman joseph oliver , councillor norman oliver. mayor of bendigo.

Black and white photograph of SEC tram No. 18 turning from Sturt St. into Lydiard St Nth. with Ballarat Post Office in background. Photo taken after the tram has passed the photographer. Tram has destination of "Lydiard St. Nth". Photo by Dave Macartney - 4/8/1968 Photocopy made 4/1999 for display purposes. See also Reg Item 585 for a wider view of this same photograph.trams, tramways, ballarat post office, ballarat, lydiard st. north, tram 18

Laminated A3 fawn coloured poster for use in tram roof ad racks, featuring five different drawings of Ballarat trams - SEC 40, ESCo Toastrack, ESCo California Combination, SEC 13 and horse tram No. 7, with words "Ballarat Trams are Ballarat History" See Also Reg Item 3895 for a sale version of this poster. .1 - 693.1 - has four white Velcro dots on rear for display purposes.trams, tramways, btm, posters, roof ads, esco

"Certificate of Appreciation" issued by the Ballarat Begonia Festival Special Committee for the BTM's contribution to the 2005 Ballarat Begonia Festival. Printed with a green background on white paper, signed by Cr. Des Hudson, as Chairperson. Has the sponsors name on the base of the certificate, Masterfoods, Tourism Victoria , University of Ballarat and City of Ballarat. On display in room 03, May 2005 to ??? within a wood/glass frame supplied by the BTM. Frame for display purposes only.tramways, trams, begonia festival, btm, certificates

Photocopy - No Number, no date, other than BTM Number 228, No title – plan showing roads and trees in the Gardens area, early drawings, many roads on the east side of Lake Wendouree not built . Photocopy onto heat sensitive paper – 9 separate sheets joined with tape. An additional sheet added at the St. Aidans end showing roads – in pencil. Probably compiled for the BTPS by Bill Kingsley for planning purposes.Has “228” in biro on rear of sheet, and “Scale 100 foot to 1 inch” on front of sheet.trams, tramways, signals, forest city signals, equipment, electrical engineering

Set of five Blocks each of 200 tickets bundled for issuing purposes - red ink on off white paper, 40c, concession ticket with the Met name and logo at the top of the ticket. The ticket number is in black ink. The tickets have been wrapped with a sheet of brown paper secured with adhesive tape. Numbered C794001 to 795000. The tickets have been stapled onto a heavy cardboard back with a single metal staple.trams, tramways, the met, tickets, mta

Set of five Blocks each of 200 tickets bundled for issuing purposes - purple ink on off white paper, 30c City Section ticket with the letters MTA at the top of the ticket. The ticket number is in black ink. The tickets have been wrapped with a sheet of brown paper secured with adhesive tape. Numbered Af417001 to 418000 The tickets have been stapled onto a heavy cardboard back with a single metal staple.trams, tramways, the met, tickets, mta

Set of five Blocks each of 200 tickets bundled for issuing purposes - green ink on off white paper, 80c City Section ticket with the name The Met and their logo at the top of the ticket. The ticket number is in black ink. The tickets have been wrapped with a sheet of brown paper secured with adhesive tape. Numbered E198001 to 199000 The tickets have been stapled onto a heavy cardboard back with a single metal staple.trams, tramways, the met, tickets, mta

Piece of sheet steel, enamelled with red, white and black paint for use at tram stops. Small red band at top, white band with letters CARS STOP HERE and large red band underneath, on both sides to indicate to drivers a compulsory stop- That is all tram to stop at the location. Same sign used for same purpose in Melbourne. Two copies held. See also Reg Item 7395 for another sample.trams, tramways, ballarat, secv, tram stops, furniture

Ushabti are tiny anthropoid (human-shaped) figures placed in the tombs of wealthy Egyptians. They were intended to do the work of the deceased in the afterlife. This purpose is implied through their name, which may have derived from the Egyptian word “to answer”. The Burke Museum in Beechworth is home to a particular ancient Egyptian Ushabti figure. This artefact was donated to the Museum in 1875. No details about how it left Egypt, arrived in Australia, and where it was located before this donation are known. The Nineteenth Century, when this artefact was donated, was a period when many museums acquired items of ancient Egyptian heritage. Many of these items were procured in less than desirable circumstances, having often been looted from ancient tombs and sold to tourists without documentation as to their original location and/or accompanying grave goods. These artefacts were also divested through partage (the trading of artefacts for funds); however, the latter is unlikely to have been the case for this artefact. Since the Ushabti was donated by an unknown donor, it is likely to have been in a private collection rather than an institution. Ushabti can be dated using iconographic analysis which is non-invasive and provides a comprehensive study of the artefact. The later period of the 18th Dynasty marked the beginning of an increase in both the inclusion of Ushabti as essential funerary items and the creation of Ushabti with tools. From this period, they are no longer depicted without tools. Depictions of tools including gardening hoes are frequently depicted grasped in the Ushabti’s hands whilst items like the seed-bag are depicted hanging on the back rather than in an alternative position. This Ushabti figure grasps a gardening hoe and a mattock and a small seed bag surrounded by a yoke bearing water jars are depicted on the upper back of the Ushabti. These features are essential in helping narrow this dating to the late 18th and before the early 20th Dynasty. The position of this seed bag also provides dating information. In the early 18th Dynasty this bag was consistently drawn on the front of the figurine; however, by the reign of Seti I, this feature moved to the back. Thus, since the seed bag is located on the back of this Ushabti, it cannot date to the early 18th Dynasty. By the 19th Dynasty, Ushabti’s were increasingly made from either faience or terracotta. The availability of these materials in Egypt resulted in the increase of Ushabti production with tombs containing many more figurines than previously seen. The Ushabti held by the Burke collections is made from terracotta. Terracotta was rarely used for Ushabti before and during the early 18th Dynasty with only the odd appearance until the late 18th Dynasty and becoming common through that period until the late Third Intermediate Period. Whilst the face has been damaged, there is no evidence for the Ushabti having been provided with an Osirian false beard. This omission rules out a dating of later than the 25th Dynasty when beards became prominent. The inscriptions also date the Ushabti to the New Kingdom. This is because of the use of sḥḏ (“to illuminate”) with Wsjr (“Osiris”) which only occurs in these periods. Therefore, considering all these elements, the Ushabti can be confidently be dated to between the late 18th to early 19th dynasty.Artefacts like this Ushabti are no longer exclusively representative of their origins in burial assemblages and significance in the mythology of the Egyptian afterlife but are also significant for the accumulated histories they have gained through travel. The movement of this artefact from Egypt to Australia allows insight into the collecting habits of the 19th century, and in particular, the reception of ancient Egyptian artefacts in small rural museums. The procurement of Egyptian artefacts was a social trend around the late 1800s to early 1900s. Egyptian artefacts were considered curiosities and recognised for their ability to attract public attention to museums. They were also utilised in Australian museums, like the Burke Museum, to connect the collection to one of the oldest civilisations known to man and since Australia was considered a “young” country by European settlers, this was vital and derived from an interest in Darwin’s “Origin of the Species” 1859. Furthermore, there was a culture of collecting in the 1800s amongst the affluent in English society which led to the appearance of many Egyptian artefacts in private collections. The acquisition of this Ushabti figure is not certain, but it was likely donated from a private collection rather than an institution. This particular artefact is significant as an example of a high-quality Ushabti representative of those produced during the late 18th or early 19th century. It provides insight into the individualism of an Ushabti and the mythology of ancient Egypt. It also provides an example of the types of items required in the tomb assemblages of this period and reinforces the importance of ensuring the successful afterlife of the deceased through art. This Ushabti belonged to a woman named Taweret-Khaiti, Chantress of Amun, in the late 18th Dynasty or early 19th Dynasty (c.1292 BC) of the Egyptian New Kingdom. It likely comes from an undetermined tomb in the locality of Thebes. This figure is made from Nile silt clay (a polyester terracotta; clay sourced from the banks of the Nile River) which was a popular material for Ushabti construction in the early 19th Dynasty. It is in a fair state of preservation (with the exception of a break through the centre) and originally made to a high quality. The face has been damaged but the eyes and eyebrows are clearly marked with black ink and the sclera painted white. The Ushabti is painted a light brown/yellow colour and features a vertical line of inscription down the lower front. The Ushabti wears a large wig and and a schematic collar. The arms are painted light brown and depicted crossed with bracelets around the wrists. It grasps a hoe and mattock. A yellow seed-basket is depicted on the Ushabti’s back. These features represent the likelihood that this particular Ushabti was intended to complete farm work for the deceased in the next life. There would have been additional Ushabti of similar design within the tomb who worked under the supervision of a foreman Ushabti. The foreman Ushabti would be depicted dressed in the clothing of the living. The inscriptions are painted freehand in black ink and written in a vertical column from the base of the collar to the foot pedestal on the front of the Ushabti. The owner of the Ushabti could elect to have the figures inscribed with their name, the Ushabti spell and any other details they deemed necessary. In the case of this example, the Ushabti is inscribed with the owner’s details and is an abbreviated version of the standard Ushabti formula. This formula ensured that the Ushabti would complete the desired task in the afterlife when called upon by the deceased. Ushabti which were not inscribed would represent their intended purpose through design; however, this Ushabti, like most made in the late 18th Dynasty, conveys its purpose both through both design and inscription. The inscription is as follows: sHD wsir nbt pr Smayt imn tA-wr(t)-xai(ti) mAa xrw which translates to: "The illuminated one, the Osiris (the deceased), the mistress of the household, Chantress of Amun, Taweret-Khaiti, true of voice (justified)"ancient egypt

Manuals supplied for maintenance and Training Purposes in relation to use and upkeep of Thompson machine Gun in the theatre of war. Notebook summarises some key points of this.1. Training Manual for the Thompson Sub Machine Gun. Yellow cover with picture of gun. 32 internal pages on white paper and black writing. Includes B & W pictures of guns and parts. 2. Note book has green cover and supplied by Military Forces. Inside pages lined and white. Writing of notes on one side only and manually numbered up to Pg. 14 with technical notes.1. Sticker on front says "Technical Book and Magazine Co". In pencil at top name "R.D. Vincent". 2. Note book name at top "D.V. Sutcliffe, SGT" and writing "Thompson Sub Machine" - Is notebook of "Australian Military Forces" training manual, thompson machine gun