In around 1924 a band of Gija people crossed fences onto their traditional land near Bedford Downs Station in the East Kimberley 2000 km northeast of Perth and killed nine head of cattle. This act precipitated one of the massacres to become known as the 'killing times'. Paddy Quilty, the station owner of Bedford Downs had his men collect wagon loads of firewood which was distributed around the camp. He then invited everyone to assemble for their rations. The food, laced with strychnine, was handed out. As the Gija people fell down dying in agony, they were shot. The firewood was used to burn the bodies. One boy escaped to the the story. Paddy Jamin Jaminji (c.1922-1997) painted The Hills of Bedford Downs Station as part of a series of painting about the Killing Times. It depicts the story and sites of the massacre. At least twelve killing sites are recorded within a radius of 150 km of Turkey Creek, WA. The painting was possibly discarded due to its damage in one corner and later collected from an old shelter at Warmun on a field trip by collector Neil McLeod in 1995.Large painting on board of symbolic landscape. Brown, yellow, cream and white. Framed.bedford downs station, massacre, killing, gija, paddy quilty, turkey creek, warmun

A hammer is a tool with a heavy head and a handle, often made of shock absorbent wood or fibreglass, that is used to strike an object. The most common use for hammers are to drive nails, fit parts, forge metal and break apart objects. Hammers vary in size, shape and structure, depending on their uses. Hammers are basic tools in many trades. A hammer is composed of a head, most often made of steel and handle also called a helve or haft. Most hammers are hand tools. A traditional hand-held hammer consists of a separate head and handle, fastened together by means of a special wedge made for the purpose, or by glue, or by both . This 2 piece design is often used to combine a dense metallic striking head with a non-metallic mechanical shock absorbing handle - to reduce user fatigue from repeated strikes. If wood is used for the handle, it is often ash or hickory, which are tough and long lasting materials that can dissipate shock waves from the hammer head. This upholsterer’s hammer has one end of the steel head rounded for knocking nails into wood furniture. The other end is divided to form a 2 pronged claw for withdrawing nails. . An upholsterer's hammer with a steel head and wooden handle, The steel head has one rounded end and a clawed endpioneers, early settlers, market gardeners, moorabbin, bentleigh, cheltenham, brighton, tools, craftsman, carpenters, cabinet makers, blacksmiths, builders, woodwork

NNN - BALLAST HOPPER, This vehicle was built by the Tasmanian Govt. Railways in 1954 and classified QG. A number were obtained by the Puffing Billy Railway for use on ballast trains but to date, only two have been converted. When the first of these was converted for 2’6” gauge operation it kept the Tasmanian QG but with the addition of an N prefix, and also kept its Tasmanian number of 3. However, to follow traditional V.R. practice, in June 2003 it was reclassified to NNN and numbered 1 as the nearest counterpart on the V.R. was the broad-gauge NN. A second one, numbered 2, has since been converted. 1 NNN - Bogie Ballast Hopper Truck Service History Built 1954 Tasmanian Railways - QR 3 - Bogie Ballast Hopper Truck converted from a 3ft 6 inch (1,068 mm) gauge ex Tasmanian Railways ballast wagon by the Puffing Billy railway. Coupled Length 20 feet 0 inches (6100 mm) Weight 6 tons Capacity 10 tons Number Built Not known In use 1 To be restored 3 Puffing Billy Service History or Notes Historic - Tasmanian Government Railways - 3 QG Bogie Ballast Hopper Truck Puffing Billy Railway - Track maintenance Vehicle - NNN - Bogie Ballast Hopper Truck1 NNN - Bogie Ballast Hopper Truck made of Steel and metal1NNNpuffing billy, pbr, rolling stock , 1 nnn bogie ballast hooper truck, tasmanian government railways, 3 qg bogie ballast hopper truck

NNN - BALLAST HOPPER, This vehicle was built by the Tasmanian Govt. Railways in 1954 and classified QG. A number were obtained by the Puffing Billy Railway for use on ballast trains but to date, only two have been converted. When the first of these was converted for 2’6” gauge operation it kept the Tasmanian QG but with the addition of an N prefix, and also kept its Tasmanian number of 18. However, to follow traditional V.R. practice, it was reclassified to NNN and numbered 2 as the nearest counterpart on the V.R. was the broad-gauge NN. A second one, numbered 1, was also converted. and was reclassified to NNN in June 2003 2 NNN - Bogie Ballast Hopper Truck Service History Built 1954 Tasmanian Railways - QR 18 - Bogie Ballast Hopper Truck converted from a 3ft 6 inch (1,068 mm) gauge ex Tasmanian Railways ballast wagon by the Puffing Billy railway. Coupled Length 20 feet 0 inches (6100 mm) Weight 6 tons Capacity 10 tons Number Built Not known In use 1 To be restored 3 Puffing Billy Service History or Notes Historic - Tasmanian Government Railways - 18 QG Bogie Ballast Hopper Truck Puffing Billy Railway - Track maintenance Vehicle - NNN - Bogie Ballast Hopper Truck2 NNN - Bogie Ballast Hopper Truck made of Steel and metal2NNNpuffing billy railway, pbr, rolling stock , 2 nnn bogie ballast hopper track, tasmanian government railways, 18 qg bogie ballast hopper truck

Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future). The black swan cloak refers to the black swan of Geelong and Ballarat were the swan has had its own fight to survive during the early colonial years where white swans were introduced by colonisers and the black swan fought back as they do not naturally get along. The wave pattern is taken from a traditional shield pattern held in the Melbourne Museum, South Eastern archive collection of shields. The wave refers to the water and travelling across water to fish, hunt and survive. This cloak is about survival, water, and the swan living on the water. It also refers to a contemporary dance of Kunuwarra the black swan, which was performed by a group Wadawurrung women (including artist Deanne Gilson) for Tanderrum (Melbourne – Naarm) in 2016. The dance is available to watch on youtube.Black swan, heart motif with water design on outer cloak, female figure and red native flower design on lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, first nations art, wadawurrung dja

This artwork was created in collaboration by Shanaya Sheridan and Josh Muir in 2018. Josh Muir was a proud Yorta Yorta, Gunditjmara and Barkinji man, who holds his culture close to his heart as it gives him a voice and great sense of identity. Josh is a Ballarat-based multimedia artist. In 2015 Josh was the recipient of the Telstra National Indigenous and Torres Strait Islander Art Award – Youth Award and the Hutchinson Scholarship, through which he undertook a 12-month residency at the Victorian College of the Arts in Melbourne. Muir's work has been acquired by the Koorie Heritage Trust, The National Gallery of Australia, the Museum and Art Gallery of the Northern Territory, the National Gallery of Victoria and was commissioned as a major project artist by White Night. Shanaya Sheridan, is a proud Yorta Yorta, Dja Dja Wurrung and Boon Wurrung woman who has resided in Ballarat for 20 years, after living in Horsham, Shepparton and Melbourne. Growing up and watching her Elders, and their style of artworks, Shanaya is influenced by a traditional style of Aboriginal art, mixing it up with contemporary colours. This reconciliation piece is Shanaya’s first commission. Artists' Statement: '“This painting represents reconciliation across all lands, from the skies down to the waters including the mountains, grass and sand. The hands represent people of all cultures reaching for a brighter future, and the men and women in talks of how reconciliation can be achieved. Last but not least, the footprints represent our Aboriginal and Torres Strait Islander ancestors that have fought for reconciliation before us and their steps/progress towards reconciliation.' Digital prints of this artwork on aluminum are displayed at Federation University Australia campuses at Mt Helen, Gippsland (Churchill), Berwick, Brisbane and Horsham.reconciliation, josh muir, shanaya sheridan, aboriginal, reconciliation action plan

The Wurrung Wurrung Kit is designed to introduce students at all levels to the heritage of Aboriginal languages within the area now known as Victoria. The kit aims to: Create awareness of Victorian Aboriginal languages in the past and present. The kit is not designed for the teaching of languages, Develop students' understanding of the relationship between the languages and culture of Victorian Indigenous people, or Koories, Create awareness of the importance of language to indigenous communities today and to foster respect for these communities and their languages, Highlight the diversity within Aboriginal Victoria and Australia in terms of languages and culture, Provide resources for students and teachers that can be used either as a window into Aboriginal culture generally, or to complement a broader unit of work in indigenous studies. Resources for teachers Purpose of this kit Using this kit Terminology Pronunciation Facts about Aboriginal languages in Victoria Language and Aboriginal culture Revitalizatoin of Aboriginal languages Language Alive in the community Community protocols Understanding the Language Map VELS and Curriculum links Teaching Framework Resources and contacts Activities for students Animal names Colouring in Possum Koala Kangaroo Code breaker What do yo know? Concentration Sounds, spellings and symbols Kinship Different things, different words Koorie Garden Timeline Story of Victorian Languages Language on the Mission Role Play Traditional Owners Placenames Graffiti Wall Map References.maps, b&w photographs, b&w illustrations, colour illustrations, games, referenceswoiwurrung, boonwurrung, gunnai kurnai, djadjawurrung, wathaurong, keerraywoorroong, jardwadjali, wergaia, ladjiladji, taungurung, dhudhuroa, kulin

Rochelle SUMMERFEILD Born Sydney, Australia This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Artists Statement: I am based in Northern NSW. My art practice is deeply influenced by my connections and experiences with the rivers and habitat where I live. Through drawing, paint, collage and digital media my work explores human relationships with riparian environments. Every day I see the undeniable beauty of our rivers as well as the ecological suffering of these riparian landscapes. Historical practices of land clearing, water politics and weed infestation put tremendous pressure on the Australian ecology. Disrupting traditional art forms, I combine them with new technologies to reveal some of the complexities behind human relationships with nature. With bold collagist experimentation, I combine numerous mediums to expose the small revelations between media. These juxtapositions open up the possibilities of reinventing different ways of being with the natural environment. Like the layers in my work, the issues surrounding our riverine environments are multifaceted and complex and begin with individual choices. I want to direct people’s attention to our rivers, to love, appreciate and reconnect with the natural environment. Human experience with nature is a fundamental part of our sense of self, health and well-being as well as community connection. (https://rochellesummerfield.com/about/, accessed 10 June 2020)art, artwork, rochell summerfield, printmaking, print council of australia

These bottles were common in the late 1800's and 1900's. Bottle Nos 1 and 2 were made by Angus & Co, a Sydney company producing ink and gums (glue and clag) from about 1880 to 1920. Their products were sold in stoneware and glass containers in varying sizes. 1. Small pottery bottle referred to as a "Penny Ink" bottle, made by Angus & Co. The small bottle got its name because of the price of 1d. = 1 penny. This bottle is missing. Nos. 3 and 4 The two tall thin Erven Lucas bottles with handles at the top were usually referred to as "Dutch Gins". In fact they actually contained "'Seltzer Spa water' or a form of Quinine Tonic, both supposed to be health drinks. These types of bottles first arrived in Australia with the Gold-seekers from Europe. Early samples are somewhat crudely made. The potter would have formed the bottle with a young apprentice applying the handle, name stamp and the glaze prior to being fired in the kiln. There is evidence of fingerprints from these processes on both samples.A collection of five handmade rare stoneware bottles with a salt glaze: 1. Small pottery bottle referred to as a "Penny Ink" bottle, made by Angus & Co. The small bottle got its name because of the price of 1d. = 1 penny. This is missing. 2. Medium glazed brown pottery bottle with a pouring spout (Angus & Co Ink Commercial). 3. Medium glazed brown pottery bottle with a pouring spout (Bourne Denby). 4. Large glazed brown pottery bottle with a pouring spout (Bourne Denby). Sample is from England probably sold for 2/- or 2/6d. Two shillings or two shillings & sixpence. 5. and 6. Two tall thin brown pottery bottles, one with a broken cork stopper and one without a stopper with Erven Lucas Bols - Het Lootsje Amsterdam stamped at the top of both. They were usually referred to as "Dutch Gins". 6. Green/black bottle is a traditional Dutch Gin with tapering sides, which made it easy to remove from the mold after being blown by hand and the cork top was applied by an apprentice. This sample dates from approximately 1900. Earlier samples are very crude with later samples being machine made with embossing.(This bottle is missing, 13.10.2022). 2. 'Angus & Co Ink Commercial' 3 and 4. 'Bourne Denby' stamped inside an oval lined shape. 5. and 6.Erven Lucas Bols - Het Lootsje Amsterdambeverage bottles, bottles, storage containers, stoneware bottles

Moulding Plane: 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. Auburn Tool Company: The Auburn Tool Company is known to exist from 1864 to 1893. George Casey reorganized the firm of Casey, Clark and Company as a joint-stock company in 1864, under the company name of Auburn Tool Company. The 1865 New York State Census noted the firm as a manufacturer of the plane, plane irons, and skates. The production that year was listed as 30,000 pairs of skates and 35,000 planes along with 25,000 dozen plane irons. The plane irons carried the trademark "Thistle". Both skates and plane irons were made from welded wrought iron and cast steel. The Auburn Tool Company was among the five leading plane manufacturing firms existing in the mid to late 19th century USA. Others were: H. Chapin's Son; Greenfield Tool Company; and Sandusky Tool Company. Auburn Tool Company, with these others, was also a founding member of the Plane Makers Association, organized around 1858 to fix prices. Most of the companies tools were manufactured by prisoners and in 1866 the firm was outbid for prison labour by J M Easterly and Co. After losing the contract with the prison authority they constructed a new building and continued in the plane manufacturing business with private labour. The 1870 US Census reported the firm had 21 machines, driven by water power, employing 66 males, producing annual products valued at us$70, 000. After A. Howland and Company was dissolved in 1874, the Auburn Tool Company again resumed using contract labour at the State Prison until 1877. The Auburn Tool Company merged with the Ohio Tool Company of Columbus, Ohio, on Nov 14, 1893. Although plane manufacturing was continued at Auburn until after 1907, after this merger the firm went under the name of the Ohio Tool Company. 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. It also gives an insight into how many manufacturing companies bid for the rights to use prison labour to make their products at this time in our history. Decorative wood Moulding, plane Round type Auburn New York. Owner A Neudt Size 14 flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

September Meeting (Newsletter No. 152, Sep. 2003) This meeting is one in an occasional series where we get together a panel of speakers to talk about a particular aspect of Eltham's history, its character or its people. As has been the case for past speaker panels, we have organised a buff et dinner to precede the meeting and details of this are given below. Eltham has a well-known tradition of building with mud brick, second hand materials and other innovative or uncommon materials. Although this trend dates mainly from the 1930 's there are examples from the pioneer days of Eltham. Part of the Brocksopp house at Eltham South is an 1850' s mud brick construction by George Souter. But the alternative building tradition in Eltham really began at Montsalvat in the 1930's. Justus Jorgensen's building complex of earth construction, stone and items from wreckers' yards inspired a number of builders and owner builders, particularly in adopting mud brick or adobe as their building medium. The tradition continues today with our area remaining home to a relatively high proportion of builders using these alternative materials. The panel we have selected to talk on this subject are either builders in the Eltham tradition or have had close contact with builders of the past. The panel will be introduced by Russell Yeoman who will talk briefly about George Stebbing, an early Eltham builder responsible for many of our remaining historic buildings, but known for traditional buildings of his time rather than the later buildings which give Eltham its particular character. The panel members are as follows:- • John Pizzey, architect. John will speak on the work of Alistair Knox designer and builder in mud brick and the person who has most contributed to the environmental building traditions of Eltham. • Peter Jarvis who will talk about his own work as a builder in mud brick and his views on traditional and modern construction methods. • Leigh Wykes, a present day builder of stone houses, will talk about his own work in the district and its relevance to Eltham traditions. • Diana Bassett-Smith will talk about her experience with owner-builders constructing their earth houses in Eltham in the 1950's. Pise and mud brick presented a cheap building material provided that you could do it yourself or persuade your friends to help. Prior to the meeting there will be a buffet dinner of casseroles and other courses prepared by some of our members. We will be starting at 6.00pm with dinner scheduled for 6.30. Harry Gilham will be providing drinks, including wines from his personally made collection. Cost of the dinner will be $10 which can be paid on the night. However, for catering purposes we need to know numbersCompact audio cassette Sony EF 90 Type I / IEC I Cassette labelled "Eltham Builders Historical" Converted to MP3 file; 100MB, 1:18:57 alistair knox, audio cassette, audio recording, building construction, diana bassett-smith, eltham, john pizzey, leigh wykes, peter jarvis, society meeting

Alistair Knox was an architect and builder who came to Eltham in 1948. Influenced by Frank Lloyd Wright and Walter Burley Griffin, he sought to create buildings that would blend into the landscape, enhanced by the planting of indigenous flora. The post-war shortage of building materials made traditional construction expensive. Adobe (mudbrick) provided a cheap and plentiful alternative, and one which would be aesthetically pleasing. Mud-brick manufacture was a problem at first. Sonia Skipper had been experimenting with Eltham clays for years to find the best mix for making bricks and render. Alistair employed her as building foreman on several of his sites. By the 1980s, he had brought mud-brick and earth building into the Australian mainstream, and a Knox-designed house had become highly desirable. Sonia said that he would craft a bespoke earthen house to fit with his client's lifestyle. He was drawn to the environmental movement, publishing three books on housing and the environment, and speaking on radio. He also served on the Eltham Shire Council 1971-1975, was Shire President 1974 and was instrumental in re-establishing the Eltham Community Festival in 1975. Alistair died in 1986 and is buried in a small garden setting at Eltham Cemetery.Born Digitaleltham cemetery, gravestones, heritage excursion, alistair knox

Alistair Knox was an architect and builder who came to Eltham in 1948. Influenced by Frank Lloyd Wright and Walter Burley Griffin, he sought to create buildings that would blend into the landscape, enhanced by the planting of indigenous flora. The post-war shortage of building materials made traditional construction expensive. Adobe (mudbrick) provided a cheap and plentiful alternative, and one which would be aesthetically pleasing. Mud-brick manufacture was a problem at first. Sonia Skipper had been experimenting with Eltham clays for years to find the best mix for making bricks and render. Alistair employed her as building foreman on several of his sites. By the 1980s, he had brought mud-brick and earth building into the Australian mainstream, and a Knox-designed house had become highly desirable. Sonia said that he would craft a bespoke earthen house to fit with his client's lifestyle. He was drawn to the environmental movement, publishing three books on housing and the environment, and speaking on radio. He also served on the Eltham Shire Council 1971-1975, was Shire President 1974 and was instrumental in re-establishing the Eltham Community Festival in 1975. Alistair died in 1986 and is buried in a small garden setting at Eltham Cemetery.Born Digitaleltham cemetery, gravestones, heritage excursion, alistair samuel knox

The National Bicycle Game is an Australian-made and designed board game for 2, 3 or 4 players made by The National Game Company of Ballarat and Melbourne between 1930 and 1950. The earliest board games date from the mid-18th century and were printed on copper or steel plates and coloured by hand. By 1839 lithography was first used, making it possible for publishers to produce larger quantities of all types of toys. By the 1890s the games were mounted on to a folded board. Popular subjects were of an historical or geographical nature, as well as transport including motoring, aviation and railways and various sports. The board game 'A Motor Ride' ,made by The National Game Company, was possibly the first large-scale manufacturer of locally-designed board games in Australia. The firm was established in Ballarat, Victoria, at the beginning of the twentieth century by W. Owen. Other board games made by National include the 'Victory-United Nations" game, 'Fairyland', 'Yacht Race', 'Golf Game', 'Bicycle Game', Steeple Chase', 'Our Great Game' about football, 'Courtship and Marriage', 'Around the Commonwealth by Aeroplane', and 'Dugouts and Trenches' as well as the more traditional games such as Ludo, Snakes and Ladders, and Noughts and Crosses. This game board has been well-used. The game is significant because it uses scenarios familiar to Australian children in the first half of the twentieth century. This game board reflects the experience of being a child in the twentieth century. Toys were how children were socialised and taught. Most toys mimic the adult world, and looking at them can tell us something about how the world has changed. A folding game board for The national Bicycle Game for 2,3 or 4 players. It has a yellow spiral track on which the player progresses at the throw of the die, starting at the clubhouse until reaching home. In the background are pictures of rural scenes.board-games recreation cycling national-game-company

A dead eye is a part of a vessel’s rig On board sailing ships, dead eyes were used in three different areas. Traditionally dead eyes are made of wood but they have different forms according to where they were used in the vessel rigging. The most common type of dead-eye is flat, with three holes and was used to tension the shrouds, the heavy lines which steadied the masts on each side. Each shroud had a dead eye at the lower end, which corresponded to a similar dead eye attached to the side of the ship. The two were connected with a rope called a lanyard, which was used to tighten the assembly. The stays, heavy lines running forward from the masts, were also tensioned with dead eyes. These are much larger and rectangular, with four or six holes. The third type of dead-eye was a two-holed version attached to an eye at the end of the parallel, which tied a yard to the mast. The loose ends of the parallel rope passed through the dead eye and then down to the deck, making it possible to tighten or slacken the parallel from the deck so that the yard could be more easily manoeuvred. It was especially important for the mizzen yard, which had to be shifted from one side of the mast to the other when tacking the ship.An item used on sailing ships rigging this item of ships equipment and its use has been used from the beginning of the invention of sailing ships going back to ancient times. Its use on sailing vessels had not changed in design or use until they went out of fashion and steamships took their place.Circular wooden ships rigging dead eye with three holes Noneflagstaff hill, warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, sailing vessel rigging, dead eye, sailing equipment

The word ashtray came into use around the 1920 and is a receptacle for ash from cigarettes and cigars and are typically made of fire retardant material such as glass, heat resistant plastic, pottery, metal, or stone. The most common ashtray design is a shallow cylinder with a flat base, designed to rest on a table. Other ashtrays, particularly in public places, are either wall or floor mounted. While simple, utilitarian forms of ashtrays existed long before the 19th century, it was during the start of the 20th century that the design, aesthetics and their popularity took off. As more women began to smoke. in the early 1900s, the ashtray went closer to being an art form as many women avoided the use of the traditional ashtray as it failed to reflect their feminine values, regarded as an item rather basic in design the general societal through of the time was that smoking was an activity exclusive to men. What emerged were detailed, often very fancy ashtrays acceptable to women depicting either pastoral scenes or vibrantly coloured landscapes. As time went on, and the onset of women smoking both cigars and cigarettes became less of a departure from the average person, ashtrays saw a decline in design and aesthetics beginning more of a shift towards practicality. The subject item is a primitive form of ashtray used in public spaces any time from the 1920-1960s and is not associated with an historic person or event. However the item could have come from the Warrnambool Town Hall given the inscription on the base of the item.Ash tray-large rectangular floor model with cement sheet lining. Made from a wooden box covered with textured metal on the outsideThe metal has a relief design embossed at the top back "smokers" and "Town Hall" printed on bottom.flagstaff hill, warrnambool, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, ash tray, town hall, cigarette tray, smoker's ash tray

The word ashtray came into use around the 1920 and is a receptacle for ash from cigarettes and cigars and are typically made of fire retardant material such as glass, heat resistant plastic, pottery, metal, or stone. The most common ashtray design is a shallow cylinder with a flat base, designed to rest on a table. Other ashtrays, particularly in public places, are either wall or floor mounted. While simple, utilitarian forms of ashtrays existed long before the 19th century, it was during the start of the 20th century that the design, aesthetics and their popularity took off. As more women began to smoke. in the early 1900s, the ashtray went closer to being an art form as many women avoided the use of the traditional ashtray as it failed to reflect their feminine values, regarded as an item rather basic in design the general societal through of the time was that smoking was an activity exclusive to men. What emerged were detailed, often very fancy ashtrays acceptable to women depicting either pastoral scenes or vibrantly coloured landscapes. As time went on, and the onset of women smoking both cigars and cigarettes became less of a departure from the average person, ashtrays saw a decline in design and aesthetics beginning more of a shift towards practicality. The subject item is a primitive form of ashtray used in public spaces any time from the 1900 -1960s and is not associated with an historic person or event. However the item could have come from the Warrnambool Town Hall given the inscription on the base of the item.Ash tray-large rectangular floor model made from a wooden box covered with textured metal on the outsideThe metal has a relief design embossed at the top back "smokers" and "Town Hall" printed on bottom.flagstaff hill, warrnambool, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, ash tray

A dead eye is a part of a vessel’s rig On board sailing ships, dead eyes were used in three different areas. Traditionally dead eyes are made of wood but they have different forms according to where they were used in the vessel rigging. The most common type of dead-eye is flat, with three holes and was used to tension the shrouds, the heavy lines which steadied the masts on each side. Each shroud had a dead eye at the lower end, which corresponded to a similar dead eye attached to the side of the ship. The two were connected with a rope called a lanyard, which was used to tighten the assembly. The stays, heavy lines running forward from the masts, were also tensioned with dead eyes. These are much larger and rectangular, with four or six holes. The third type of dead-eye was a two-holed version attached to an eye at the end of the parallel, which tied a yard to the mast. The loose ends of the parallel rope passed through the dead eye and then down to the deck, making it possible to tighten or slacken the parallel from the deck so that the yard could be more easily manoeuvred. It was especially important for the mizzen yard, which had to be shifted from one side of the mast to the other when tacking the ship.An item used on sailing ships rigging this item of ships equipment and its use has been used from the beginning of the invention of sailing ships going back to ancient times. Its use on sailing vessels had not changed in design or use until they went out of fashion and steamships took their place.Circular wooden ships rigging dead eye with three holes Noneflagstaff hill, warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, sailing vessel rigging, dead eye, sailing equipment

B006.1 associated with St George's PFA, St Kilda. Membership of the PFA was symbolised by the wearing of the badge. Badges were received by new members only at a special Badge Presentation Service. The letters "PFA" stand out clearly on the badge with the letter "F" the largest because Christian Fellowship is central - with God and and one another. Around the letters is a ring of blue. A ring is an emblem of love and blue traditionally stands for truth of loyalty. Behind the letters are a white St Andrew's cross. Around the edge of the badge are serrations which point outwards and symbolise the reaching out of the Fellowship to the world. The aim of the PFA was "to unite youth in the fellowship of service of the Kingdom of God." Its objectives were "to present to youth the Gospel of Jesus as good news for them, the community and mankind, and as a call to vigorous and faithful activity for Christ's Kingdom in collaboration with all who seek that Kingdom. to help them understanding of the life and teaching of Jesus Christ through study of the Bible and other sources of inspiration. To assist youth to grow to full and true maturity by helping to meet their spiritual needs in physical, mental and social realms. To unite the youth of the Presbyterian Church into a Fellowship of worship, study, recreation and service directed toward the achievement of these objectives." Source: "PFA Handbook", 1960.Seven Presbyterian Fellowship Association round blue and white enameled lapel badges. B006.1 PFA lapel sterling silver badge.PFApresbyterian fellowship association

Bob Kelly paints landscapes of culturally significant sites along the Mornington Peninsula and depicts these locations as he imagines they originally were before colonisation. Using traditional Western painting techniques, Kelly records the underlying spirit of the Peninsula from a Wathaurong perspective. Chinaman’s Creek in Capel Sound (Rosebud West) was an important watercourse that originally ran from Wonga (Arthur’s Seat) down through Tootgarook Swamp into Port Phillip Bay. It was a great fresh water and food source and home for many Boonwurrung people. Since settlement over 170 years ago, the creek has been drained, blocked, reconstructed and damaged. Kelly depicts a lush green landscape in which the clean creek water winds through the surrounding vegetation of spinifex grasses and gum trees, the background hills are abundant with trees, untouched from man's intervention. Using painstaking detail, Kelly records each blade of grass and ripple on the surface of Chinaman’s Creek. His attention to detail serves to powerfully reimagine this important cultural site, returning it to its former pristine state, and reinvigorating its role as a key place of sustenance for the Indigenous populations of the Peninsula. Chinaman's Creek was a finalist in the 2017 Bayside Acquisitive Art Prize.oil and acrylic on canvaslandscape, creek, trees, chinaman's creek, painting, indigenous, robert kelly, bayside acquisitive art prize, bob kelly, wathaurong, rosebud, arthur's seat, tootgarook swamp, port phillip bay, boonwurrung

2002 Excellence in Construction AwardsFramed Award 2002 Excellence in Construction Awards, JA Dodd LTD, Excellence in Construction, (Existing Buildings) Under $2 million, Project: The Royal Mint Building, Architect: Robert Peck von Hartel Trethowan, Location: 280 William Street Melbourne, J A Dodd Ltd's refurbishment of the historic former Royal Mint Building delivered to the client's specification in retaining the features of this historic building, while at the same time providing modern office accommodation with state of the art facilities. New works have been defined by a modern style encompassing glass, stainless steel and flush surfaces, offering a stark departure from the ornate finishes of the original building. Traditional timber mouldings, tiles stonework and intricate paint methods have been used only where repairs to the existing building were required. The judges praised the superb job and made special mention of the exposed roof trusses. 38 master builder awards

Eaglehawk Dahlia & Arts Festival 1991, Souvenir Programme, March 14th - 24th. Programme. Debutante Ball x2 Debs presented to Mayor of Eaglehawk Cr. W Carney. Music 'Gaytones'. Gala Fair, Canterbury Park. Organised by Y's Men and Menettes of Eaglehawk. Porcelain Art and Craft Show, Art Show, Stafford Ellison & McKern Awards. Display of Memorabilia, Cornish Association. Children's multi-Dimensional Art Exhibition. Flower Show, sponsored by North West Country Credit. Children's Photographic Display. Photographic Print Competition. Historic California Hill Church, open. Victorian Police Display Unit caravan open to public. Official Opening His Excellency, Dr. Davis McCaughey. A.C. Governor of Victoria. Dahlia and Arts Street Procession. Presentation of Art, Craft Photographic and Literary Awards. 9th Annual Dahlia and Arts Half-Marathon, conducted by Eaglehawk Athletic Club. Ecumenical Church Service, Combined Clergy. Speaker: Rev. Lindsay Faulkner, Eaglehawk Citizens Brass Band. Their Excellencies, the Governor of Victoria, Dr. McGaughey and Mrs McGaughey. Picnic Lunch. Free Concert. Cycling Criterium, Featuring the Tony McCaig Memorial Wheelrace. Barry Kenny Country Roundup. Family Mini Fair. Borough Bingo. Indoor Garden Party. Celebrity Concert. Rotary Club Dinner. Children's Fancy Dress Parade, sponsored by Bendigo Advertiser. Gala Charity Old Time Ball, 'Premiers Orchestra'. Traditional Cornish Concert, Eaglehawk Citizens Brass Band, Val Broad, Annette Beckwith, Steven Higgs. Traditional Cornish Service. Genealogy Society, Cornish Association Display, Walk Tours of Eaglehawk, Ray Wallace. Picnic in the Park followed by family reunions and entertainment. Aussie Clean-up Day. Croquet and Bowls Tournaments. Official Guests: His Excellency, Dr. Davis McCaughey A.C. Governor of Victoria, and Mrs McCaughey. Mayor of Eaglehawk: Cr. W Carney J.P. Festival President: Cr Lola Miller B.E.M. Vice Presidents: Alan Bull & Kevin Herdman. Executive Officer: Ruth Claridge. Treasurer: Mary Mills. Committee Members: Alan Pearce, Harold Trahair, Wendy Holland, Trevie Dineen, Wayne Evans, Rebecca Evans, Jean Tebb, Lois Locket, Pam Wright Ron Dineen, Sandie Morris, Wayne Morris, Joyce Shelton, Dot White, Ric Norris, Ron Watts, Noel Thomas, Lorna Thomas, Ted Brown, Heather Bull, Dennis Cock, Edith Mudford, Ron Mudford, Anne Scott. Acknowledgements: Councillors, Officers and Staff of the Eaglehawk Borough Council, and by members of the Rotary Club of Eaglehawk. Lions Club of Eaglehawk. Judges of various awards. Sponsors, donors of procession prizes, voluntary workers, dedicated community of Eaglehawk. Sponsors: Stafford Ellison, Borough of Eaglehawk, Bendigo Bank, KcKern Manufacturing Pty Ltd, Bendigo Advertiser, State Bank of Victoria.event, entertainment, eaglehawk dalia and arts festival, eaglehawk dahlia & arts festival 1991, programme, march 14th - 24th. programme. debutante ball x2 debs. music 'gaytones'. gala fair, canterbury park. organised by y's men and menettes of eaglehawk. porcelain art and craft show, art show, stafford ellison & mckern awards. memorabilia, cornish association. children's multi-dimensional art exhibition. flower show, sponsored by north west country credit. children's photographic display. photographic print competition. historic california hill church, . victorian police display unit caravan open to public. street procession. presentation of art, craft photographic literary awards. 9th annual dahlia and arts half-marathon, conducted by eaglehawk athletic club. ecumenical church service, combined clergy. rev. lindsay faulkner, eaglehawk excellencies, the governor of victoria, dr. mcgaughey and mrs mcgaughey. picnic lunch. free concert. cycling criterium, featuring the tony mccaig memorial wheelrace. barry kenny country roundup. family mini fair. borough bingo. indoor garden party. celebrity concert. rotary club dinner. children's fancy dress parade, sponsored by bendigo advertiser. gala charity old time ball, 'premiers orchestra'. traditional cornish concert, eaglehawk citizens brass band, val broad, annette beckwith, steven higgs. traditional cornish service. genealogy society, cornish association display, walk tours of eaglehawk, ray wallace. picnic in the park family reunions and entertainment. aussie clean-up day. croquet bowls tournaments. official guests: his excellency, dr. davis mccaughey a.c. governor of victoria, and mrs mccaughey. mayor of eaglehawk: cr. w carney j.p. festival president: cr lola miller b.e.m. vice presidents: alan bull & kevin herdman. executive officer: ruth claridge. treasurer: mary mills. committee members: alan pearce, harold trahair, wendy holland, trevie dineen, wayne evans, rebecca evans, jean tebb, lois locket, pam wright ron dineen, sandie morris, wayne morris, joyce shelton, dot white, ric norris, ron watts, noel thomas, lorna thomas, ted brown, heather bull, dennis cock, edith mudford, ron mudford, anne scott. acknowledgements: councillors, officers and staff of the eaglehawk borough council, and by members of the rotary club of eaglehawk. lions club of eaglehawk. judges of various awards. sponsors, donors of procession prizes, voluntary workers, dedicated community of eaglehawk. sponsors: stafford ellison, borough of eaglehawk, bendigo bank, kckern manufacturing pty ltd, bendigo advertiser, state bank of victoria.

Emu eggs are perfect for decorating, painting or carving. Emu egg shells have multiple layers ranging from an inner white layer through to the dark green outer layer. The contents must be removed through a small hole (either tool drilled or poked with a needle). After the yolk has been blown out (scrambling the yolk first by poking with a needle will make it easier to remove), the egg needs to be washed through and left to drain dry. It can then be painted, carved, etched or decorated. Emu decorating is a traditional Aboriginal art. The carving of emu eggs by Indigenous and non-Indigenous people was popular in the late 19th century but production declined in the 20th century, partly due to the protection of eggs through legislation. This has been overturned in recent years with the development of commercial emu farms. In the period between the two world wars particularly, with the production of other Aboriginal artefacts for an outside market, the carving of emu eggs provided an important source of income for Aboriginal people in many parts of Australia. It was a widespread practice in the south-east and it was not unusual for Aboriginal people to decorate their own homes with carved eggs and other items created by themselves or community members, serving to affirm an Indigenous identity within the domestic environment. (ref National Gallery of Australia)This item is significant for its uniqueness and its aesthetic appeal.An emu egg which has been painted white and decorated with glued on cord/thread to make a pattern of flowers and leaves.emu-egg ornament handcraft

The original ship was built in Glasgow in 1899 by Fairfield Shipbuilding and Engineering Co for the Orient Line. It was the largest Orient Line passenger ship completed in the nineteenth century and was the third vessel of the Line to bear the famous “O” prefix, which was traditional through to the last ship, the mighty 'Oriana'. Her dimensions were 8,130 gross tons, length 490.6ft x beam 56.6ft (149.50 x 17.22m). She had one funnel, two masts, twin screw and a speed of 18½ knots. Her maiden voyage from London, via Suez, to Melbourne and Sydney commenced on 3rd February 1899. She was the largest British flag ship sailing to Australia at the time and continued to regularly sail between London, Melbourne and Sydney throughout her life. She last sailed as a passenger ship between Melbourne and Sydney on the 3rd November 1916. During World War I, she was converted to a troopship and was used to transport soldiers and assist with military operations. She was torpedoed and sunk by German submarine UB-52, 40 nautical miles (74km) off the coast of Sardinia in the 12 May 1918. She was on her return journey from Alexandria to Marseilles with six other transports, carrying troops of the 52nd and 74th divisions when she was lost, resulting in one casualty. Her maiden voyage brought her to Melbourne in 1899. The ship carried the first Australian troops from Brisbane to WWI in September 1914.A large ship builder's model of the 'SS Omrah' an Orient Line one funnel passenger steamer of 1899. The model is displayed in a large glass and polished timber case on legs.2 Plaques at foot of model: "MODEL/ OF TWIN SCREW STEAMER/ "OMRAH"/ BUILT FOR/ ORIENT STEAM NAVIGATION CO LTD/ BY/ THE FAIRFIELD SHIPBUILDING & engineering CO LTD/ DIMENSIONS/ 507-0X56-9X37-6MLD/ GROSS TONNAGE 8291 TONS SPEED 18 1/2 KNOTS on boat: "OMRAH"

Take Hold of the Clouds is a curated exhibition featuring two key works by renowned international contributors – Forensic Architecture’s Cloud Studies (2021) and Cauleen Smith’s Sojourner (2018) – along with six, newly commissioned, responsive works from local and national creative practitioners. The experimental exhibition is distributed across seven of the city’s most significant buildings and urban spaces, with each temporal creative work adding a new layer to how we understand these spaces in relation to the world around us. Embedding the work within the city itself rather than a traditional gallery, the exhibition models best practices for high-impact yet sustainable and resource-sensitive exhibition-making. Created in partnership with Monash University, Take Hold of the Clouds navigates the Weekend’s theme of Built/Unbuilt through a series of thoughtful encounters in which artists reveal the invisible stories and issues in corners of the city. The exhibition is conceived by Tara McDowell, Director of Curatorial Practice at Monash Art, Design and Architecture, and co-curated with Fleur Watson, Open House Melbourne’s Executive Director. To create this poster, the artist used a copy of of one of Walter Butler plans for the 7171 building held in the archives as an homage to the architect. The sketch was then retouched to make it loo like a blueprint. The Mission is one of the sites open every year during Open House. A3 size Blue print type plan print on glose paper.open house melbourne, 2022, ying-lan dann, circular temporalities, norla dome, blueprint, plans, walter richmond butler (1864–1949), cultural events

As the Yarra became unsuitable as a source of water, several attempts were made to find alternative sources for the growing population of Melbourne. It was not until 1891 that the efforts to sewer Melbourne came to fruition with the setting up of the Melbourne Metropolitan Board of Works (MMBW), now known as Melbourne Water. From 1891 until 1992, it was the responsibility of the MMBW to safeguard public health by providing a sewerage system and a safe water supply system. In 1992, The MMBW merged with a number of smaller urban water authorities to form Melbourne Water. The township of Cocoroc was created in 1894 at the Metropolitan Sewage Farm (now the Western Treatment Plant) to house the workers it employed. The name 'Cocoroc' means 'frog' in the language of the Wathaurung people — the Traditional Owners of the land the treatment plant was built on. By the early 1950s there were nearly 100 houses, a town hall, football ground (and team), swimming pool, tennis courts, four schools and a post office, and by the 1970s some 500 people were living in Cocoroc. As it became too expensive for the MMBW to subsidise, Cocoroc was abandoned. By 1973 most of the houses and other buildings were demolished or moved to Werribee. All that is left now of Cocoroc are two small, empty, concrete swimming pools, a few weatherboard sheds and a big iron water tank. This photograph detailing an exterior view of the North Cocoroc State Primary School, is historically significant as it captures children at play within a purpose built community. The School that was one of four was built to educate the children of the MMBW workers. As the school no longer exists, this photograph is the only tangible evidence left of the building, also showcasing the style of buildings in this era. cocoroc, township, school, mmbw, melbourne metropolitan board of works, melbourne water

Old Ballarat Pottery was set up by John Gilbert as part of the Old Ballarat Village, opposite Sovereign Hill. Gilbert had lectured at Ballarat College of Advanced Education before establishing the Edinburgh Pottery at Sovereign Hill in 1972 to enable visitors to see traditional trades at work. The Old Ballarat Pottery was a much larger concern, producing wares for sale through department stores and on party plan via Faberware as well as through the village. Early works looked as though they might have been made in the 1850s, with unturned bases, crude marks and dark treacle-like glazes. Peter Pilven, one of Gilbert's students, worked there after graduating from the Ballarat College of Advanced Education, teaching throwing to students like the potter John Ferguson, who was there from 1978-79. Potters were initially employed by Gilbert's company Pontresina Pty Ltd, registered in 1973. (The Old Ballarat Pottery was registered as a company from 1984-1994.) Early works are marked with an impressed long-tailed 'B', or an 'OB' on either side of a mine tower. A printed stamp also features a mine tower surrounded by the text 'Old Ballarat Pottery Made in Australia'. Later work is impressed 'Stoneware Old Ballarat Pottery Australia' with a kangaroo.Hand thrown blue glazed jug.Stamped 'Stoneware Old Ballarat Pottery?old ballarat pottery, australian studio pottery, jug, pontresina, ceramics

Old Ballarat Pottery was set up by John Gilbert as part of the Old Ballarat Village, opposite Sovereign Hill. Gilbert had lectured at Ballarat College of Advanced Education before establishing the Edinburgh Pottery at Sovereign Hill in 1972 to enable visitors to see traditional trades at work. The Old Ballarat Pottery was a much larger concern, producing wares for sale through department stores and on party plan via Faberware as well as through the village. Early works looked as though they might have been made in the 1850s, with unturned bases, crude marks and dark treacle-like glazes. Peter Pilven, one of Gilbert's students, worked there after graduating from the Ballarat College of Advanced Education, teaching throwing to students like the potter John Ferguson, who was there from 1978-79. Potters were initially employed by Gilbert's company Pontresina Pty Ltd, registered in 1973. (The Old Ballarat Pottery was registered as a company from 1984-1994.) Early works are marked with an impressed long-tailed 'B', or an 'OB' on either side of a mine tower. A printed stamp also features a mine tower surrounded by the text 'Old Ballarat Pottery Made in Australia'. Later work is impressed 'Stoneware Old Ballarat Pottery Australia' with a kangaroo.Hand thrown black glazed bottle with lip. Stamped 'Stoneware Old Ballarat Pottery' and impressed with a long tailed B.old ballarat pottery, australian studio pottery, pontresina, bottle

‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981Another Kyoto confection, a kind of sweetened rice paste, is simply but strikingly wrapped in a package marked with its name (uiro) in vigorously written characters. Simplicity could hardly be carried further, but, as seen in this ensemble of three separate packages, the effect is altogether engaging. - Professor Hideyuki Oka, curator.japanese art, japanese packaging, tsutsumi, gift giving

‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving