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Ballarat Tramway Museum
Photograph - Colour Photograph/s - set of 22, Carolyn Dean, 10/09/1999 12:00:00 AM
Set of 22 photographs taken by Carolyn Dean of the loading, transport and off loading of ex MMTB/Metropolitan Transit scrubber tram No. 8W (8) from Preston Workshops to Ballarat on 10/9/1999. All on Kodak Royal paper. Most feature a number of people in the photograph. 1. Loading tram at Preston 2. ditto 3. ditto 4. tram loaded 5. Ready to leave Preston with articulated tram No. 2121 alongside. 6. ditto 7. Arrived in Wendouree Parade, rainy day. 8. ditto at Windmill Drive North - L.Arthur truck 9. Moving to off loading position at Old loop, with tower truck in background 10. Barry James crane about to lift. 11. Lifted off truck 12. About to be lowered onto the ground 13. ditto 14. On the track 15. Crane being packed up. 16. Waiting to be towed. 17. W3 661 being coupled up. 18. ditto 19. Group photo - from left to right - Paul Mong, Mark McKay, Alastair Reither, Stephen Butler, Carolyn Dean, John Phillips, Simon Jenkins, Warren Doubleday and Alan Snowball. 20. Being towed into the depot 21. Crossing Wendouree Parade 22. Being pushed by 671into 7 Road. Note image 19A used by Museums Australia in a display - collections and people, 9/2001 - display boards. - similar image to 19, photo by Carolyn Dean on Warren Doubleday's camera. Added 2/2002. All have "10.9.99" and "Photo by Carolyn Dean" on rear.scrubber tram, delivery of tramcars, unloading, btm, tram 8, tram 8w -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Functional object - Manufactured Objects, Perambulator, c1914
JAMES JOSEPH HIGGINS, was born in Dublin in 1821 and, at age twenty, emigrated via Liverpool in 1841 with his wife Ellen and baby daughter Margarete, on board the 'Intrinsic'. They lived in Little Lonsdale Street, Melbourne, for some years, where their son James John Clarke Higgins was born in 1850. JAMES JOHN CLARKE HIGGINS moved to Brighton East when he married Ruth Simmonds in 1873. The couple lived on Jasper Rd near the corner of Centre Rd for the rest of their lives, and produced eight children HERBERT JOHN HIGGINS was the sixth child born in 1886, to James John Clarke Higgins and Ruth Simmonds, and grew up in Centre Rd, Brighton East, now Bentleigh. He was renting and working a property on Jasper Rd from the time he was married in 1913 to Victoria Matilda Long, daughter of Charles John Long and Annie Matilda Allnutt. Herbert John bought his property on Jasper Rd in 1921. [Metropolitan Board of works plan 3220, Municipality of Moorabbin, shows that in 1928, Higgins Rd was planned (and probably built soon after). Herbert was a dairyman and market gardener. He bred and milked cows and sold milk, cream, butter and eggs to the locals. He supplied hay/corn to be made into chaff to J L Smith’s produce store. He also leased land from other farmers in the area and helped work their land. c1950 he sold the property in lots, some privately, others to the Municipality. Some lots became part of Hodgson Reserve, Higgins Road, Bentleigh, and another lot, the Bentleigh Bowling Club. Herbert and Victoria, known as Queenie, had five children between 1914 and 1928. The youngest Dorothy, who remembered sitting in this pram and later using it to carry papers, wood, vegetable etc., lived on the property in Jasper Road until her passing in 2016. ( Ronald Alexander Higgins, descendant , Helen Stanley CMHS 2017) The family of Dorothy Higgins 1928-2016, were early settlers in Moorabbin Shire establishing a dairy farm c 1873 in East Brighton ( now Bentleigh)Wicker Perambulator, baby carriage, c. 1914, with a lined, painted wicker body, iron spring scrolled frame with leather straps and 4 steel wheels with rubber tyres. The push handle is broken and hood is missing. dairy farms, higgins james joseph, simmonds ruth, higgins dorothy, poultry farms, jasper road bentleigh, city of moorabbin historical society 1961, sheehy t.a., newsletters, ashley r, neville f, blackman n, moorabbin city council, moorabbin roads board toll gates, pioneers moorabin cheltenham, bentleigh, highett -
Federation University Art Collection
Ceramic, Robin Welch, Stoneware Bowl by Robin Welch, c1980
Robin WELCH ( 23 July 1936-5 December 2019) Born Nuneaton, Warwickshire, England Robin Welch is one of the most highly respected contemporary British potters. The full range of his work includes large vessels with related paintings, fine drawings, and distinctive bowls and vases which explore colour, surface texture, form, detail of edge, and line. He is one of small group of significant British potters who expanded the language of throwing pots on the wheel through post-wheel additions and alteration. This gave his generally cylindrical forms a more organic and sculptural aspect, but their heavily coloured and textured surfaces were as much about painting, too, as Robin sought an integration of the visual disciplines he enjoyed. As he once wrote: “There’s no divide between art or craft. You decide to be an artist and you’ll use anything. If marooned on a desert island you’d use driftwood.” (https://www.theguardian.com/artanddesign/2019/dec/27/robin-welch-obituary, accessed 23 March 2021) Initially studying at Penzance School of Art under Michael Leach (son of Bernard Leach) and the Central School of Art, London Robin Welch then worked part-time at the Leach Pottery between 1953 and 1959 before opening his own pottery in London's west end (1960 to 1962). After a couple of years of world travel, including working in Australia from 1962 to1965 helping Ian Sprague set up his Mungeribar Pottery and exhibiting in Melbourne, Robin Welch returned to England setting up Stadbroke Pottery in Eye, Suffolk in 1965. Apart from his studion work Robnin Welch was a skilled designer for industry including Wedgwood. When not in his Suffolk studio Robin Welch spent much time in Australia where he appreciated the outback’s arid earth, brilliant light, grittier textures and luminous colour. When not in his Suffolk studio Robin Welch spent much time in Australia where he appreciated the outback’s arid earth and brilliant light, its grittier textures and luminous colour, qualities he sought to convey in-the-round and on canvas. Apart from his studion work Robnin Welch was a skilled designer for industry including Wedgwood, Midwinter and Denby.Stoneware bowl with flange. Glazed in white matt crackle with a faint copper red tint. Dry black glazed rim. Gift of the artist.Robin Welch stamped on baseceramics, robin welch, gippsland, gppsland campus, jan feder memorial ceramics collection -
Federation University Art Collection
Ceramic - Artwork - Ceramics, Stoneware Bowl by Robin Welch, 1980
Robin WELCH ( 23 July 1936-5 December 2019) Born Nuneaton, Warwickshire, England Robin Welch is one of the most highly respected contemporary British potters. The full range of his work includes large vessels with related paintings, fine drawings, and distinctive bowls and vases which explore colour, surface texture, form, detail of edge, and line. He is one of small group of significant British potters who expanded the language of throwing pots on the wheel through post-wheel additions and alteration. This gave his generally cylindrical forms a more organic and sculptural aspect, but their heavily coloured and textured surfaces were as much about painting, too, as Robin sought an integration of the visual disciplines he enjoyed. As he once wrote: “There’s no divide between art or craft. You decide to be an artist and you’ll use anything. If marooned on a desert island you’d use driftwood.” (https://www.theguardian.com/artanddesign/2019/dec/27/robin-welch-obituary, accessed 23 March 2021) Initially studying at Penzance School of Art under Michael Leach (son of Bernard Leach) and the Central School of Art, London Robin Welch then worked part-time at the Leach Pottery between 1953 and 1959 before opening his own pottery in London's west end (1960 to 1962). After a couple of years of world travel, including working in Australia from 1962 to1965 helping Ian Sprague set up his Mungeribar Pottery and exhibiting in Melbourne, Robin Welch returned to England setting up Stadbroke Pottery in Eye, Suffolk in 1965. Apart from his studion work Robnin Welch was a skilled designer for industry including Wedgwood. When not in his Suffolk studio Robin Welch spent much time in Australia where he appreciated the outback’s arid earth, brilliant light, grittier textures and luminous colour. Stoneware bowl on a tall foot. Calcium matt glaze, underglaze colour with underglaze metallic lustre. ceramic, jan feder memorial ceramics collection, robin welch, gippsland campus, mungeribar pottery, stadbroke pottery -
Federation University Art Collection
Ceramic, Bowl by Robin Welch, 1980
Robin WELCH ( 23 July 1936-5 December 2019) Born Nuneaton, Warwickshire, England Robin Welch is one of the most highly respected contemporary British potters. The full range of his work includes large vessels with related paintings, fine drawings, and distinctive bowls and vases which explore colour, surface texture, form, detail of edge, and line. He is one of small group of significant British potters who expanded the language of throwing pots on the wheel through post-wheel additions and alteration. This gave his generally cylindrical forms a more organic and sculptural aspect, but their heavily coloured and textured surfaces were as much about painting, too, as Robin sought an integration of the visual disciplines he enjoyed. As he once wrote: “There’s no divide between art or craft. You decide to be an artist and you’ll use anything. If marooned on a desert island you’d use driftwood.” (https://www.theguardian.com/artanddesign/2019/dec/27/robin-welch-obituary, accessed 23 March 2021) When not in his Suffolk studio Robin Welch spent much time in Australia where he appreciated the outback’s arid earth and brilliant light, its grittier textures and luminous colour, qualities he sought to convey in-the-round and on canvas. Apart from his studion work Robnin Welch was a skilled designer for industry including Wedgwood, Midwinter and Denby. Initially studying at Penzance School of Art under Michael Leach (son of Bernard Leach) and the Central School of Art, London Robin Welch then worked part-time at the Leach Pottery between 1953 and 1959 before opening his own pottery in London's west end (1960 to 1962). After a couple of years of world travel, including working in Australia from 1962 to1965 helping Ian Sprague set up his Mungeribar Pottery and exhibiting in Melbourne, Robin Welch returned to England setting up Stadbroke Pottery in Eye, Suffolk in 1965.Stoneware bowl with split flange, glazed with matt white, black and a touch of copper red Tobin Welch stamped on basejan feder memorial ceramics collection, ceramics, robin welch, gippsland campus, jan feder -
Puffing Billy Railway
Non Sweating Lamp, The Adlake
The Adlake Non Sweating Lamp "THE ADLAKE NON SWEATING LAMP CHICAGO" Adlake is a shortened name of the "Adams and Westlake" company. They began doing business in 1857 in Chicago. They manufactured railroad supplies and hardware in Chicago. In 1927, they moved to Elkhart, Indiana, where they remain in business today. The difference between "lamp" and "lantern" is that the lamp is meant to be hung on a post or a hook during use and the lantern is hand-held and only used when a person is directing traffic. It has four lenses- two amber and two blue. Adams & Westlake, also known as A&W or Adlake, became a dominant maker of short-globe lanterns and their #200, #250, and plain “Kero” (sometimes known as #300 or #400) models were sold by the thousands to the entire range of railroads. Short-globe lanterns came about because manufacturers figured out how to get a lantern to burn properly with a shorter combustion chamber, which allowed lanterns to be shorter and cheaper. Adams & Westlake began selling #200 Kero lanterns around 1921 and they sold well, the #250 Kero lantern was released in the mid 1920’s as an improvement over the #200 version, with a new burner design. FInally, around 1930 Adams & Westlake released models marked simply “Kero” but are sometimes known as the #300 or #400 models, which are further refinements. The #200, #250, and “Kero” models all look very similar in design and in fact they are all pretty much the same frame design with a couple of minor differences on the later “Kero” models. Short globe lanterns are still very easy to find because they were produced well into the mid 1900s. Adams & Westlake short globe lanterns can usually be dated by looking for a two-part date code on the bottom of the lantern. The first digit will be 1,2,3, or 4 followed by a dash and then a two digit number. Sample code: 2-39 would mean that the lantern was produced in the 2nd quarter (Apr-Jun) of 193Historic - Railways - Adlake Non Sweating LampAdlake Non Sweating Lamp made of metal and glass Metal with handle, painted black, oil Bullseye lens, 13 cm diameter, green Circular lens on opposite site, 5 cm diameter, clear Sliding panel provides access to burner Rain shield embossed 'THE ADLAKE NON SWEATING LAMP' 'LAMP MFG 7 RLY SUPPLIES LONDON''THE ADLAKE NON SWEATING LAMP' 'LAMP MFG 7 RLY SUPPLIES LONDON'puffing billy, adlake non sweating lamp -
Otway Districts Historical Society
Book, Puffing Billy Preservation Society, G42: Puffing Billy's Big Brother, 1981
Victoria's narrow gauge railways were from Wangaratta to Whitfield (covering 30.5 miles/49 km) opening in 1899, Colac to Beech Forest (29 miles/46.7 km) opening in 1902 with an addition to Crowes (14.1 miles/22.7 km) opening in 1910, Upper Ferntree Gully to Gembrook (18.2 miles/29.3 km) opening in 1900, and Moe to Walhalla (26 miles/41.3 km) opening in 1910. From the outset these narrow gauge lines proved very uneconomical in operation and were plagued with continuing financial losses. The lines most difficult to work were those carrying the most business, and in particular the trains from Colac and Moe with their 1 in 30 grades and countless curves precluded having engines with large coupled driving wheels operating. Having examined the possible use of articulated locomotives to reduce operating costs on the narrow gauge lines the Victorian Railways decided upon the Beyer-Garratt type of locomotive in 1925 and an order was placed in England for two engines of the 2-6-0 plus 0-6-2 wheel arrangements. These arrived in April 1926. Assembly of the new Garratts was duly completed and steaming trials carried out at Newport, Victoria, the engines being classed as "G" and given the running numbers "41" and "42". G41 was taken to Colac where, on 5 June 1926, it was put to work on the Colac-Beech Forest-Crowes line. G42 soon followed and duly began work on the equally steep and tortuous but shorter Moe-Walhalla line. Following the closure of the Moe line in 1955 G42 was refurbished and went to Colac. G41 was overhauled, but not as thoroughly as G42, at then returned to Colac where both Garratts shared regular work on the line until its closure in 1962. From 1978 G42 continues its operation on the Upper Ferntree Gully-Gembrook line as part of the Puffing Billy Preservation Society.G42: Puffing Billy's Big Brother. Pictorial history of a Beyer-Garratt in Victoria, Australia. Phil A'Vard, Larry James, Ron Peach (concept). Puffing Billy Preservation Society; Belgrave (Vic); 1980. 64 p.; illus; map. Soft cover. ISBN 0 9598392 7 5victorian railways; narrow gauge; moe; walhalla; colac; beech forest; crowes; upper ferntree gully; gembrook; beyer-garratt; -
Eltham District Historical Society Inc
Photograph, Peter Pidgeon, Grave of James Hans Morrison and Beatrice Wanliis Morrison, Eltham Cemetery, Victoria, 5 April 2021
Beatrice Irvine was the daughter of former Victorian Premier Sir William Irvine. From age 13 she lived at ‘Killeavey’ off Laughing Waters Road (later accessed from Reynolds Road). In 1923 she married James Morrison and the couple received Killeavey as a wedding gift. The property supported fruit and vegetable growing as well as an impressive botanical garden. But James died in 1936 after a period of ill health, leaving Beatrice to support their six children. To make matters worse, the house was totally destroyed in the Black Friday bushfires in 1939 but was rebuilt. Beatrice became involved in community issues. In particular, she was an active member of the Eltham Women's Auxiliary, which was formed in 1945 to raise funds for the establishment of an Eltham War Memorial. From the outset, it was decided that this would take the form of a Baby Health Centre, a Pre-School and a Children’s Library, set in a garden of remembrance. Thanks to tireless fund-raising, the project came to fruition in the 1950s when, one by one, the three children's welfare buildings opened in Main Road (having previously been in temporary premises): they are collectively known as the Eltham War Memorial site. Beatrice continued to live at Killeavey and became well regarded as a botanist and naturalist. She died in 1989 and is buried in Eltham Cemetery with her husband and one of their sons. The (rebuilt) house has since been demolished. All that remains is a fragment of the garden. In Fond Memory Of James Hans Morrison Croix de Guerre Born St Peters Pass Oatlands Tasmania 6th June 1880 Died Killeavey Eltham 16th November 1936 And his beloved wife Beatrice Wanliss Morrison (nee) Irvine Born St Kilda Victoria 22nd January 1899 Died 5th November 1989 Who rest here James Hans Irvine Morrison Born Melbourne 11th October 1927 Died Gorora New Guinea 1st October 1971Born Digitaleltham cemetery, gravestones, beatrice wanliss morrison (nee irvine), james hans irvine morrison, james hans morrison, croix de guerre (france) -
Eltham District Historical Society Inc
Photograph - Digital Photograph, Jim Connor, Birrarung House, 195 Laughing Waters Road, Eltham, 7 September 2013
Laughing Waters Walk, 7 Sep 2013 This Society excursion was a follow up to the Laughing Waters Story told to us by Jane Woollard at our Annual General Meeting in March 2013. It involved a walk commencing from the corner of Laughing Waters and Overbank Roads along Laughing Waters Road to its eastern end and returning partly over the same route - a total distance of about 2.5km. On the way we visited the two artist in residence properties, River Bend and Birrarung, to view the houses on them that are associated with Alistair Knox, Gordon Ford and others in the local mud brick and artistic community. We also able to walk around the derelict ruin which was once home to Gordon and Sue Ford, Boomerang House. An unexpected afternoon tea was offered to us by the artists in residence at Birrarung House and we had a brief opportunity to view inside the house. Birrarung is situated near the end of Laughing Waters Road. It was built in 1974 by Graeme Rose for Gordon Ford who he had asked to build him a small ‘bach’. Builder Peter Jarvis who did his apprenticeship with Alistair Knox for a couple of years recalled there were no drawings. It evolved as more funds became available. Graeme would source second-hand building materials around which he would shape the house. The fireplace was built with chicken wire over which it was rendered with faro cement. A brick floored glass studio, added later, faces a wall of boulders pressed into a manmade cliff, a large pond the link between the rock wall and glass studio. A waterfall, fed by river water, no longer functions. The property became part of the Laughing Waters Artist in Residency Program with the first artist taking up residency in 2001. For a more in-depth description of the property and biographies of the various artists in residence commencing from 2001 through to 2015, see Jane Woollard's book, "Laughing Waters Road; Art, Landscape & Memory in Eltham" published 2016.2013-09-07, activities, artists in residence, eltham district historical society, heritage excursion, jim connor collection, laughing waters road, birrarung house -
City of Greater Bendigo - Civic Collection
Manual, Post Master General's Department, Telegram Delivery Instructions, 1967
Electrical telegraphs were point to point text messaging systems primarily used from the 1840's until the late 20th century. It was the first electrical telecommunications system and were sent by an operator or telegrapher using Morse code. Social telegrams were also encouraged and special pictorial forms and envelopes were designed such as the special purple form and envelope which was used when conveying condolence details during World War 2.(fn. Powerhouse https://collection.powerhouse.com.au/object/163103). There was a brief resurgence in telegraphy during World War I but the decline continued as the world entered the Great Depression years of the 1930s. Although telegraph lines continued to play an important part in distributing news feeds from news agencies post World War 2, the rise of the internet in the 1990s and the widespread installation of the telephones in homes saw the need for telegrams to greatly decline. When the Commonwealth Post and Telegraph Act was passed in June 1902, and a national Postmaster General's Department (the PMG) was established the responsibility for the nation's mail and telephone services fell on Post Offices. The Bendigo Post Office, built in 1887 and situated on Pall Mall was the central distribution centre for receiving and delivering telegrams and continued to deliver communication and postal services until 1997. Now a Visitor Centre, dedicated volunteers at the Post Office continued to demonstrate and educate the public about telegraphic services and the development of this unique form of communication up until 2019 when Covid 19 disrupted every day life, coupled with the death Ted Rankins (the last Post Master and a long term telegraph volunteer at the Post Office). This book was issued to Junior Postal Workers in Bendigo to guide them in the delivery of telegrams and designed to fit into their delivery satchels and carried while on the job. In the early years telegrams were delivered by bicycle and this manual is part of the postal collection donated by the Rankins family in memory of Ted. Small, blue, vinyl covered manual. Contains thirty printed pages covering all aspects of how to correctly deliver telegrams. Topics include 'Loss of telegram', 'Undelivered Telegram', 'special Delivery' and 'Beware of Dogs'. Bound with two ring metal clip. Front cover; Australian Post Office / Telecommunications Division / Telegram / Delivery / Instructions / Headquarters / 1962 Various annotations and updates throughout. ted rankins collection, bendigo post office, bendigo tourism, city of greater bendigo tourism, post office collection -
Eltham District Historical Society Inc
Photograph, Fay Bridge, Ruins beside the Diamond Creek at Wattle Glen, 13 October 2016
The newly constructed Diamond Creek Trail from Diamond Creek to Wattle Glen completed in February 2021 winds around these ruins just pass the high transmission power lines near Herberts Lane and Collard Drive From Jean Verso, Nillumbik Historical Society, 15 April 2021 William Wandless Herbert bought the surrounding 100 acres in 1852. He was a native of Northumberland and the Scottish Borders who arrived in Melbourne in 1847. The house on the top of the mound would have been built not long after he bought the land; the farm was named "Greenhills". He married Elizabeth Wilson, daughter of John Wilson who had been in Diamond Creek since about 1846. Their first child was born in 1854 so there would be some form of dwelling from about that time. They had eight children who all survived to a good age. His will describes the house as part stone and part wood and of four rooms. Nillumbik Historical Society (NHS) believe it was one of the earliest if not the earliest house, in this part of the district. The remains of the stone house foundations are on top of the mound (photos on the VHD page) and the barn walls are on the north and to the east side of the mound. NHS is not sure how much or which part of the surrounding area was covered by the barns but they were large enough to hold dances after the race meetings that were held in the late 1880's on the adjacent creek flats. It would make sense with the lay of the land that they covered some of the ground to the north and east and used for farm storage, packing sheds for their apple and pear orchards and also for supporting the Nillumbik Gold Mine the family worked to the north up the gully. The path that comes down the gully and runs into the trail goes past the mine site which was on the west side of the gully a couple of hundred metres up from the flats. Heritage Victoria link for the site - https://vhd.heritagecouncil.vic.gov.au/places/12203fay bridge collection, 2016-10-13, diamond creek, diamond creek trail, ruins, wattle glen, william wandless herbert, greenhills, elizabeth wilson -
Flagstaff Hill Maritime Museum and Village
Equipment - Pill Maker Board
Before factory production became commonplace in medicine, dispensing was considered an art and pill machines such as these were a vital component of any chemist’s collection. This machine dates back to the days when your local chemist or apothecary bought, sold, and manufactured all his own drugs and medicines to everybody who lived within the local community. In Victorian times, there was no such thing as off-the-shelf medicine. Every tablet, pill, suppository, ointment, potion, lotion, tincture and syrup to treat anything from a sore throat to fever, headaches or constipation, was made laboriously by hand, by the chemist. Pill machines such as these first appeared in the mid-1700s and quickly became a staple of the Victorian chemist’s shop. A ‘pill mass’ of medicinal powders mixed with a binding agent would be hand-rolled into a pipe on the tile at the back of the machine. This would then be placed across the grooved brass plate and cut into equal-sized pills using the corresponding side of the roller. Once all the necessary ingredients for the pills had been measured and ground with a pestle and mortar a final ingredient was poured in, syrup – this acted as a binding-agent. You could then roll it into a sausage shape. The largest part of the machine is the board. This is set at an angle and is comprised of the rolling surface, the cutting grooves, and the collection-tray. The large flat surface is for rolling out the pill-paste into the sausage shape. This is then rolled towards the brass cutting-grooves. The paddle (the second piece) is flipped over so that the grooves there line up with the grooves on the board. Rollers on the ends of the paddle roll against the brass edges of the board, and they guide the paddle straight across the grooves, taking the pill-mass with it. The grooves on the paddle and the board slice up the pill-mass and, after rolling the thing back and forth a couple of times like a rolling-pin, the circular pills roll off the grooves and into the tray at the bottom. https://galwaycitymuseum.ie/blog/collections-spotlight-victorian-pill-making-machine/?locale=en The collection of medical instruments and other equipment in the Port Medical Office is culturally significant, being an historical example of medicine from late 19th to mid-20th century. Pill making device including a grooved base board and grooved sliding board with two pill moulds.None.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, pills, pill maker, medicine, health -
Flagstaff Hill Maritime Museum and Village
Equipment - Pill Rolling Pin
Used as tBefore factory production became commonplace in medicine, dispensing was considered an art and pill machines such as these were a vital component of any chemist’s collection. This machine dates back to the days when your local chemist or apothecary bought, sold, and manufactured all his own drugs and medicines to everybody who lived within the local community. In Victorian times, there was no such thing as off-the-shelf medicine. Every tablet, pill, suppository, ointment, potion, lotion, tincture and syrup to treat anything from a sore throat to fever, headaches or constipation, was made laboriously by hand, by the chemist. Pill machines such as these first appeared in the mid-1700s and quickly became a staple of the Victorian chemist’s shop. A ‘pill mass’ of medicinal powders mixed with a binding agent would be hand-rolled into a pipe on the tile at the back of the machine. This would then be placed across the grooved brass plate and cut into equal-sized pills using the corresponding side of the roller. Once all the necessary ingredients for the pills had been measured and ground with a pestle and mortar a final ingredient was poured in, syrup – this acted as a binding-agent. You could then roll it into a sausage shape. The largest part of the machine is the board. This is set at an angle and is comprised of the rolling surface, the cutting grooves, and the collection-tray. The large flat surface is for rolling out the pill-paste into the sausage shape. This is then rolled towards the brass cutting-grooves. The paddle (the second piece) is flipped over so that the grooves there line up with the grooves on the board. Rollers on the ends of the paddle roll against the brass edges of the board, and they guide the paddle straight across the grooves, taking the pill-mass with it. The grooves on the paddle and the board slice up the pill-mass and, after rolling the thing back and forth a couple of times like a rolling-pin, the circular pills roll off the grooves and into the tray at the bottom. https://galwaycitymuseum.ie/blog/collections-spotlight-victorian-pill-making-machine/?locale=enhe companion item to pill-maker base, item 488.2The collection of medical instruments and other equipment in the Port Medical Office is culturally significant, being an historical example of medicine from late 19th to mid-20th century.Pill making device including a grooved base board and grooved sliding board with two pill mouldsNone.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, pill making, pill mould, medicine, health -
Eltham District Historical Society Inc
Photograph, Fay Bridge, Birrarung House, 195 Laughing Waters Road, Eltham, 7 September 2013
Laughing Waters Walk, 7 Sep 2013 This Society excursion was a follow up to the Laughing Waters Story told to us by Jane Woollard at our Annual General Meeting in March 2013. It involved a walk commencing from the corner of Laughing Waters and Overbank Roads along Laughing Waters Road to its eastern end and returning partly over the same route - a total distance of about 2.5km. On the way we visited the two artist in residence properties, River Bend and Birrarung, to view the houses on them that are associated with Alistair Knox, Gordon Ford and others in the local mud brick and artistic community. We also able to walk around the derelict ruin which was once home to Gordon and Sue Ford, Boomerang House. An unexpected afternoon tea was offered to us by the artists in residence at Birrarung House and we had a brief opportunity to view inside the house. Birrarung is situated near the end of Laughing Waters Road. It was built in 1974 by Graeme Rose for Gordon Ford who he had asked to build him a small ‘bach’. Builder Peter Jarvis who did his apprenticeship with Alistair Knox for a couple of years recalled there were no drawings. It evolved as more funds became available. Graeme would source second-hand building materials around which he would shape the house. The fireplace was built with chicken wire over which it was rendered with faro cement. A brick floored glass studio, added later, faces a wall of boulders pressed into a manmade cliff, a large pond the link between the rock wall and glass studio. A waterfall, fed by river water, no longer functions. The property became part of the Laughing Waters Artist in Residency Program with the first artist taking up residency in 2001. For a more in-depth description of the property and biographies of the various artists in residence commencing from 2001 through to 2015, see Jane Woollard's book, "Laughing Waters Road; Art, Landscape & Memory in Eltham" published 2016.2013-09-07, activities, artists in residence, eltham district historical society, heritage excursion, laughing waters road, birrarung house, fay bridge collection -
Federation University Art Collection
Painting - Acrylic on Linen, 'Tingari Cycle' by Walala Tjapaltjarri
Walala Tjapaltjarri (b. c1960) Language: Pintupi Region: Kiwirrkuru In late 1984 Walala Tjapaltjarri and several other members of the Pintupi Tribe walked out of the remote wilderness of the Gibson Desert in Western Australia and made contact for the first time with European society. Described as 'The Lost Tribe', he and his family created international headlines. Until that day in 1984, Walala and his family lived the traditional and nomadic life of a hunter-gatherer society. Their intimate knowledge of the land, its flora and fauna and waterholes allowed them to survive, as their ancestors had for thousands of years. It is this sacred landscape, and its significant sites, that Walala so strikingly describes in his paintings. His style is generally highlighted by a series of rectangles set against a monochrome background. He paints the Tingari Cycle (a series of sacred and secret mythological song cycles) which are associated with the artist's many dreaming sites - they are Wilkinkarra, Maruwa, Tarrku, Njami and Yarrawangu, to name a few. These Dreamings are the locations of significant rockholes, sandhills, sacred mountains and water soakages in the Gibson Desert. (http://www.kateowengallery.com/artists/Wal90/Walala-Tjapaltjarri.htm, accessed 18 May 2015) Walala Tjapaltjarri started painting in 1997. His earliest works were in a classical Tingari style usually reserved for body painting, ground painting and the decoration of traditional artifacts. Within a couple of months his painting had evolved into his own innovative style of work, including the abstraction of classical Pintupi designs which resulted in a highly graphic language to speak of his country and ceremonial sites. The rectangles so prominent in his paintings form both a physical and spiritual map establishing Walala as a discerning draughtsman for his ancient country. (http://www.kateowengallery.com/artists/Wal90/Walala-Tjapaltjarri.htm, accessed 18 May 2015) This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Tingari Cycle - During the Tjukurrpa (Creation Era) Tingari ancestors beings gathered at a series of sites for Malliera (Initiation) Ceremonies. They travelled vast stretches of the country, performing rituals at specific sites that in turn created the diverse natural features of the environment. The Tingari men were accompanied by novices and usually followed by Tingari Women. The creation stories and rituals are venerated in the song cycles and ceremonies of today, forming part of the teachings of the post initiatory youths, whilst also providing explanations for contemporary customs. Walala Tjapaltjarri uses a highly personalised and minimal style to represent aspects of the sacred Tingari Cycle, an epic journey of Ancestors of the TJukurrpa (Creation Era). He paints aspects of the Tingari Cycle which are associated with the artist's many sacred sites - such as Wilkinkarra, Maruwa, Tarrku, Njami and Yarrawangu, to name a few. These are locations of significant rockholes, sandhills, sacred mountains and water soakages in the Gibson Desert. (http://www.kateowengallery.com/artists/Wal90/Walala-Tjapaltjarri.htm, accessed 18 May 2015)art, artwork, walala tjapaltjarri, aboriginal, dreaming, creation era, acrylic on linen, pintupi, kiwirrkuru, tingari, wilkinkarra, tarrku, njami, yarrawangu -
Ballarat Clarendon College
Albert Telfer White (1918) collection
Significant items relating to Albert Telfer White who entered Ballarat College April 1912 and left December 1918. Albert was born 29 June 1897 at his home 'Ashford Vale" farm, Cuthbert's Road, Cardigan. Albert, a second generation Australian, was the fourth son and sixth of eleven children born to dairy farmer John White and his wife Elizabeth, nee Douglas. Albert attended Bunker's Hill State School prior to enrolling at Ballarat College. After College he obtained employment with the engineering firm Ronaldson and Tippett in Ballarat. Following his eighteenth birthday Albert enlisted in the AIF in Ballarat with the rank of Private, No 2012. He embarked for the Middle East with 23rd Battalion on 26 August 1915 and was 'taken on strength at the Gallipoli Peninsular 25 October 1915". On 10 January 1916 Albert was posted to Alexandria, Egypt and during this time he was able to meet with his aunt Rose Douglas, an Australian Army Nursing Sister. This was a great comfort to his family. Albert was sent to France 19 March 1916 and transferred to the 22nd Battalion. He was mentioned in dispatches for 'good and gallant conduct' 5 August (1917?). Albert was hospitalised 30 March 1918, rejoined 22nd Battalion 3 June 1918, wounded in action 3 October 1918 but died of wounds at Rouen 10 October 1918. news of his death was received by his family n Australia just prior to the armistice. Albert Telfer White's sacrifice is commemorated at Ballarat College, Avenue of Honour Ballarat (Tree 1214), Ballarat Shire Honour Avenue Learmonth (Tree 163) and the Australian War Memorial Canberra. (These notes provided by family November 2016)Collections of items including: Bayonet, Carl Eickhorn, Solingen, (29.A.159 engraved on handle) Trench shovel The ANZAC book 1916 (flyleaf inscribed: No 2012 / Pte A T White / H Quarters / 22nd Battalion / 6th Inf Brigade / France) Gallipoli medal with documentation First World War Mothers’ and Widows’ Badge Next of Kin Memorial Plaque (Death Penny) and accompanying letter from King George V Imperial War Graves Commission documentation and photograph Australia Graves Services In Memory card and photograph Documentation relating to Australian War Memorial Roll of Honour, Learmonth Memorial Wall, Ballarat and Learmonth Avenues of Honours Documentation from the Australian Army Records office Documentation relating to Military Medal, 1914/15 Star, British War Medal and Victory Medal (whereabouts unknown, November 2016) Portraiture of Albert Telfer White as a child, as a young adult (civilian dress), in full kit (A I E F formal), and at camp 1915 Portraiture of sisters Cis, Addie, Bessie, Evelyn (with personal inscriptions) Four postcards (one with letter from Albert ‘at sea’ to his mother - undated) Death notice (unreferenced newspaper clipping) Biographical and family relationship details Photocopy of The White Family 1906 showing (standing) Adeline, Leslie, Harold (father), Muriel (mother), William; (seated) Albert, John (Grandfather), Elizabeth, Allan, Elizabeth (Grandmother), Evelyn (baby) and Benjamin The ANZAC book 1916 (flyleaf inscribed: No 2012 / Pte A T White / H Quarters / 22nd Battalion / 6th Inf Brigade / France) Gallipoli medal: engraved on reverse: A T WHITE Embossed lettering on death penny: ALBERT TELFER WHITE Handwritten on reverse of portraits: Lovingly yours / Cis / 21/11/17; your / loving sister / Addie; your loving / sister / Evelyn; Yours lovingly / Bessie Handwritten on back of postcard of ship H M A T 'Anchisis' 14.3.16: Dear Mother, I am sending you a card / of the boat we are on. Our deck is right / on the back. I have marked it with an X. / We are not allowed to put the date on or / where we are. I am sitting on the deck now / holding the card in my hand so it is hard / to write. We are together yet haven't been / separated Bill, Matt and myself. Haven't / had anything to do. I will write a couple / of letters now. Albert Handwritten on back of postcard photograph of Albert at camp: 30th September 1915 / Dear Mother / There is a studio at the / camp so Matt and I got our Photos / taken yesterday morning, & got them/ this morning. I am sending / Ciss one of Matt.albert-telfer-white, ballarat college, world-war-one, avenue-of-honour -
Phillip Island and District Historical Society Inc.
Photographs, Kodak, Early 20th Century to mid 20th Century
A collection of a group of photographs donated to the Society by Lun Blom, from the Photo Shop in Thompson Avenue, Cowes (was opposite the museum)A collection of 19 photographs of Phillip Island and surrounds. 293-01. Koala sitting in enamel bowl on table 293-02. 20 farmers having a break. 293-03. Reproduction of painting of The Nobbies. 293-04. Photograph of a Trophy for 1st prize for ploughing won by Mr L Morrison 1859. 293-05. Photograph of three men standing in front of a motor vehicle. 293-06. Photograph of view of Cleeland's House at Cape Woolamai. 293-07. Photograph of a whale beached on Phillip Island with people standing around it. 293-08. Photograph of a family and children in front of car - unknown. 293-09. Photograph of a painting of "Innishowen" Harbison's Property. Mr Harbison's portrait inset on the painting. 293-10. Photograph of an early map - possibly drawn by Bass & Flinders. 293-11. Photograph of the San Remo-Westernport Hotel, with vehicles in front. 293-12. Photograph of a fishing boat at the San Remo Jetty with the township in the background. 293-13. Photograph of a couta boat under full sail in Westernport. 293-14. Photograph of an aerial view of the Two Bridges taken from San Remo side. 293-15. Photograph of the Mutton Bird Eggers Camp - Bergins Bay Cape Woolamai. 293-16. Photograph of a Steam ferry decorated with flags. 293-17. Photograph of Fisherman's hut at Cowes with pier in the background. Possibly Mr Cox's. 293-18. Photograph of a couple standing on the bridge in Lover's Walk Cowes. 293-19. Photograph of an aerial view of Phillip Island looking towards Mornington Peninsula and the Heads to Port Phillip Bay in the distance.293-01. "Koala Pie" Cowes. 293-06. Mr Cleeland's Station. 293-09. "Innishowen" Mr. Harbison. 293-10. Phillip Island. 293-17. Phillip Island - Fisherman's Hut, Cowes. 293-18. Phillip Island - Lover's Walk, Cowes.wildlife - koala, wildlife - whale, the nobbies, ploughing trophy, cape woolamai - cleeland's house, innishowen, mr harbison, phillip island map, westernport hotel san remo, fishing boat san remo pier, couta boat westernport, the two bridges san remo, mutton bird eggers camp, steam ferry, fisherman's hut cowes, lover's walk cowes, aerial view of phillip island, lyn blom -
Melbourne Tram Museum
Album - Photo Album, Michael Schrader, "Tram Pix ex Slides", 1960's
Manilla file folder, Railways of Australia Committee with a blue tape on the left hand side, preprinted file containing six sets of photograph sleeves with a sheet of white paper between, marked "Tram Pix ex Slides". Clipped into the folder with brass foldback clips. Sheet 1 front: MMTB Christmas Tram - 16W - Swanston St - 1963 T181 at Footscray Depot c1960 Brisbane Dreadnought 178 Sheet 1 rear VR 6 on an AETA Tour Brighton line Brisbane 358 and baby dreadnought and a group of 4 people Ballarat 35 and three other trams in City Loop - pre 1960 Sheet 2 front Ballarat 30 in bound in Albert St Sebastopol pre 1960 Bendigo 12 leaving depot, pre 1960 Bendigo 26 at Eaglehawk pre 1960 Sheet 2 rear Bendigo 29 pre 1960 Bendigo 28 with a group of enthusiasts standing in front - mid to late 1960's Sydney - coupled set of crossbench cars at a beach terminus Sheet 3 front Sydney - with Mark Foys in background Sydney - 2057 Sydney - trams being scrapped c1960 Sheet 3 rear Sydney - trams being burnt VR 30 at St Kilda Station Sheet 4 front VR36 and 6 on the Brighton line VR53 at St Kilda Station Sheet 4 rear VR 51 at Sandringham VR 51 on Sandringham Black Rock line VR 50 at Black Rock terminus Sheet 5 - not used Sheet 6 - front - photograph of a steam tram locomotive???trams, tramways, swanston st, myer, christmas trams, footscray depot, brisbane, st kilda brighton, ballarat, bendigo, sydney, scrapped trams, st kilda railway station, sandringham, black rock, tram 16w, tram 181, tram 178, tram 6, tram 358, tram 35, tram 30, tram 12, tram 26, tram 29, tram 28, tram 2057, tram 30, tram 36, tram 53, tram 51, tram 50 -
Puffing Billy Railway
5 NBD, June 1901
NBD This is a Puffing Billy Railway reclassification of the first series of NB carriages. COMBINED NB PASSENGER CAR AND GUARD'S VAN. A saloon or end platform NB which has had a guard's compartment temporarily added in one end. Due to the temporary nature of this conversion, this vehicle also retains its original number in the NB numbering sequence but is classed NBD to differentiate it from the standard NBC and the NAC. The use of the letter 'D' in the classification is recognising the code for guard's vans prior to 1910. NB Class - Number Built (1st Series) 6 - Number Built (2nd Series) 17 - Number Built (3rd Series) 4 NB (1st series) NB 5 was equipped with a vertical hand brake at one end to enable it to be used as the last vehicle of a train. Body Length 20 feet 6 inches ( 6248 mm) Vehicle Length 25 feet 2 inches ( 7671 mm) Coupled Length 27 feet 4 inches (8330 mm) Width 6 feet 3 inches (1905 mm) Height 9 feet 5 inches (2870 mm) Weight 8 tons Capacity 16 passengers Built 1898 - 1904 Number Built 6 In use NBD 1, 2, 5 NB - Puffing Billy Railway classed these as NBD to indicate their use as a trailing vehicle with guard's accommodation. 5 NBD Victorian Railways Service History NBB 5. ( it's original number ) Built new - - / 6/1901 Newport Workshops 4/ 2/1902 - In Service "Commenced running" circa 1910 - renumbered To NB 5 *NB 5. - / 6/1926 - Modified AC Malco 5/ 2/1951 - Scrapped - Body and underframe purchased by Puffing Billy Preservation Society from Pakenham. Restored by the Puffing Billy Preservation Society 1975. In July 2006 work commenced on 5 NB to make it a temporary kitchen car for the luncheon/dinner train. It has had the seating removed from the saloon and kitchen equipment installed. Plans are for a kitchen car to be constructed and 5 NB restored to carry passengers.Historic - Victorian Railways Narrow Gauge - Passenger Rolling Stock: Passenger and Guard's Van carriage 5 NBD - converted into Catering Car and Guards vanMade of Timber and steel 5NBDvictorian railways, narrow gauge rolling stock, 5nbd - catering car and van, puffing billy -
Puffing Billy Railway
3 NUU - Louvred Truck, 3/12/1900
Van 3 NUU - Louvred Truck (11) VR Service History 3/12/1900 NWS Built new Vehicle Length 25 feet 2 inches ( 7671 mm) Coupled Length 27 feet 4 inches (8330 mm) Width 6 feet 3 inches (1905 mm) Weight 7 tons Capacity 10 tons Built 1898 - 1911 Number Built 14 In use 5 To be restored None *NUU 3.VA - 3/12/1900 NWS Built new - / /1926 - To NU 3.VA - NU 3.VA - circa 1926 - Modified AC Malco 1/10/1977 - Off Register To ETRB Sec76/3630 RS77/4223 NUU The standard louvre van design for the Victorian narrow-gauge lines, the NUU vehicles were constructed in three batches; the first seven from 1899 to 1901, an eighth in 1906 and the last six in 1911, for a total class of fourteen. They looked very similar to the U vans of the Broad Gauge, although two photographs[1][2] of NUU 1 show that its body may have been white for some time. NU In 1926 the class was relettered to simply NU, with no changes to numbers. NU 4 was scrapped in 1938, but otherwise the class remained intact until 1954, when seven members (2, 5, 7, 8, 9, 11 and 12) were sold to Coulston & Hyder, who dispersed the wagons among locations on the Wangarrata to Whitfield line. As of 1996, vans 7 and 12 were at Moyhu, while van 11 was destroyed by fire in 1978. Wagons 6 and 1 were scrapped in 1957 and 1958 respectively, while in 1954 van 13 was recorded as being sold to the Puffing Billy Preservation Society. In 1977, the remaining vans 3, 10 and 14 were handed over to the Emerald Tourist Railway Board, and removed from Victorian Railways records. The Puffing Billy Railway now posesses vans 3, 8, 10, 13 and 14. Historic - Victorian Railways Narrow Gauge - Rolling Stock - Louvered VanWooden Louvered Van - Made of Timber on a Wrought iron frame3 NUUpuffing billy, 3 nuu, louvered van, 2'6" guage, victorian railways, narrow gauge rolling stock -
National Wool Museum
Picker
Wool picking machine designed to separate locks of wool before it is carded and spun. The picker opens the wool’s locks which makes it easier to send the fleece through a carding machine. It does this by teasing the fibres (which can also be done by hand just by pulling the lock structure apart), but a picker does this in bulk and much quicker than what can be done by hand. It is possible to spin fibres directly after the picking stage; however, it is usually more desirable to card and blend them with other fibres. Typically, at a textile mill, a picking machine can separate enough lengths of fibre for a full day’s work after just a single hour. It will also help to remove any vegetation matter or other any unwanted elements that may be present in the wool. The quality of the casting on this machine suggest that it was made locally, either in Australia or New Zealand. Mike Leggett, the donor of the machine, acquired it from New Zealand where the seller said it had been used by his father to pick wool to make hand stuffed horse saddles. Mike attempted to used it a couple of times to pick alpaca hair, but the speed of the attached motor caused damage to the fibres. The motor is thought to be an added attachment, sometime around the 1960s judging by its age, while the machine itself is thought to be dated around the 1920s. The machine works by inserting wool through the rollers. Initially there was a conveyor belt feeder system which was powered by the handle on the side. This conveyor belt has been removed however, most likely due to age and deterioration. Wool is now fed through the initial teeth and is met by a spiked rotating drum which works to separate the fibres. The separated fibres would then complete a loop of the drum before being dispatched somewhere below, around where the motor presently sits, at a rapid rate of speed. Typically this wool will be collected in a closet or large catchment area, as can be seen from the 8:47 minute marker in the linked video (link - https://www.youtube.com/watch?v=kMjx-t3tH3A). It is not apparent how the wool is collected with this machine. Red and green machine with four green legs currently attached to a wooden pallet with wheels for easy movement. The green legs lead up to a red central circular barrel from which many attachments are present. Also present on the wooden pallet is a small black motor which is attached by a rubber belt to the central drum inside the red barrel. The belt spins the wooden drum via a dark red circular plate attached to the side of the drum. On the other side of the red barrel, a green handle extends for turning the picker’s conveyor belt feeder system. Two green walls extend forward from the central red barrel, guarding either side of where the conveyor belt would have been. At the start of these walls is a wooden cylinder, which the conveyor belt would have wrapped around, followed by two interlocking gears which rotate and accept the fed wool. The red roof extends over the central cylinder from here, securing the wool inside and protecting hands from the heavily spiked internal wooden cylinder which rotates and separates (picks) the wool. Extending over the top of this red roof is a green handle which reaches to the back of the machine (not pictured). Here it accepts a weight to ensure pressure is always present for the initial feeder interlocked gear teeth. There are two large gear cogs on the rubber belt side of the machine and 3 small gear cogs on the handle side of the machine, all coloured green. A green handle is also present at the rear of the machine, below the location from which the weight is hanging. A power cable extends from the motor and there are two adjustable metal rods on the top of the machine, the purpose of these rods is presently unknown. Black texter. On top of drum. Wording: HG3707 Wording. Imprint: BRACEWIND BLYN On motor. Wording AEIwool picking, textile manufacturing, wool processing -
Brighton Historical Society
Swimsuit, circa 1950s
This swimsuit belonged to Brighton local Joyce Fuller, nee Harries (1920-2018), who wore it at Dendy Beach in the 1950s. Ada of California was a Melbourne swimwear company founded in the early 1950s by Brighton locals Ada and Toni Murkies. Born in Poland in 1922, Ada was 17 when the Second World War reached her doorstep. She and her family were torn from their home by Soviet soldiers and sent to a brutal labour camp in Siberia as part of a series of mass deportations. In order to escape the horrific conditions of the camp, Ada and her sister Barbara joined the Soviet-backed Polish Army. During her time in the military she became close with a handsome young Jewish officer, Lieutenant Antoni Murkies, who later became her husband. After the war Toni was awarded 15 medals including the highest Polish military honour, the Virtuti Militari. Ada was awarded 10 medals, including the Order of the Cross of Grunwald. Emigrating to Australia as postwar refugees in 1948, Ada and Toni arrived in Melbourne with little to their name. Working initially in garment factories and building their connections, by the mid-1950s the couple were able to start a company of their own, with Ada designing the garments and Toni managing the business. Within ten years, Ada of California swimwear was being sold in department stores throughout Australia, and the Murkies family were able to build a permanent home of their own in Brighton. By the early 1980s they had acquired several other major labels, including Watersun. Visiting Brighton Historical Society in 2019, Ada recalled this particular swimsuit style to be a popular one, particularly with older women, as the cinched waist and pleated modesty skirt suited many body types. This was important to her, as she wanted women of all ages and sizes to look and feel good in her swimwear, and she devoted much time and attention to the fit and finish of the garments. When the company began introducing padded bras, such as the one in this swimsuit, Ada insisted on using lacy floral lining and a small ribbon rosette in the centre gore, to give women a sense of quality, femininity and care in construction.Blue one-piece swimsuit with waist tie and short finely pleated overskirt. Sleeveless with thin elasticised straps. Inbuilt padded underwire bra with label and pale pink ribbon rosette on centre gore. Fastens with back zip.Label: "Ada / OF CALIFORNIA / 38"swimwear, brighton, dendy street beach, ada of california, ada murkies, toni murkies, joyce fuller, joyce harries -
Flagstaff Hill Maritime Museum and Village
Domestic object - Sewing Machine and case, Joseph Wertheim, late 19th century
Hugo Wertheim (1854-1919), was a merchant and manufacturer and was born on the 12th July 1854 at Lispenhausen, in the German electorate of Hesse-Kassel, son of Meyer Wertheim and his wife Minna, née Heinemann. Hugo reached Melbourne in October 1875. He soon began advertising, from premises at 39 Flinders Lane East, as agent for his father's cousin Joseph Wertheim, a well-established manufacturer of sewing machines. Hugo returned to Germany where he married Joseph Wertheim's daughter Sophie Emilie (1864-1953) on 30 August 1885 at Frankfurt. the couple then came to Melbourne. In a short time, with extensive advertising, Hugo established a substantial business, selling sewing machines, bicycles, pianos and other mechanical devices, under brands such as Wertheim, Electra, Planet, Griffin and Hapsburg. He also mounted elaborate displays at agricultural shows and in 1901 at the Pan American Exposition, Buffalo, United States of America. O. C. Beale worked with him before setting up his own piano business in New South Wales. Hugo continued to own 25 per cent of one of Beale's companies, which became Wertheim's Queensland business. In 1908 Wertheim opened a large, innovative piano factory at Richmond, Melbourne, intending to produce 2000 pianos and player pianos annually, predominantly using Australian materials. In laying the foundation stone, Prime Minister Alfred Deakin observed that “few men with such opportunities for a life of ease would have embarked on such an enterprise” Hugo died of chronic hepatitis on 11 July 1919 at his home at South Yarra, his wife, two daughters and three sons survived him; Herbert Joseph (1886-1972), the eldest, continued the business. Rupert became a share broker and went on to represent Victoria in inter-State tennis in 1913-27 and Australia in Davis Cup matches against Czechoslovakia in 1922. The piano factory closed in 1935, becoming a Heinz food processing plant and in 1955, GTV Channel 9 studios and offices.Early Australians had to be self-reliant in regards to making and mending their clothes and utensils. This sewing machine was one of many items used that exhibit the skill and craftsmanship of the women in these early families. A sewing machine was a necessary part of each home and this item demonstrates how women of the time managed had to become self-reliant in the repair and making of their families clothes to make their household budgets go further.Sewing machine, Wertheim brand “ Syst 182” hand crank operated machine with folding handle, timber case and carry handle. Metal machine is painted black, with remnants of gold, red and green scrolls and floral decoration. Machine has base with inlaid measuring rule across front and 2 holes drilled through the base (perhaps for mounting machine to a bench). Machine tilts open, hinged on one side, after thumb screw is unwound, revealing machine’s workings and serial number. Base has a fitted round, concave, silver metal pin holder with lid that hinges open, and symbol pressed into lid; several pins are inside. Body of machine has brand name transfer across front and oval metal trademark disk on front. Metal sliding covers over footplates have stamped lettering. Timber machine case or cover includes an accessory box with sliding cover and metal hook and eye latch, and inside the box are 23 metal sewing attachments, a disc and a stick of black crayon with maker’s trademark on it paper cover. Workings of machine have seized up. The crayon wrapper has printed on it “For the wonderful Wertheim new family machine made in Germany ‘Syst. 182’”, and the maker’s symbol with “Trademark” beside it. Made for Hugo Wertheim.“WERTHEIM” transfer across front and back of machine body. Cover of pin holder has symbol ‘Wings above a shield’. Maker’s trademark on gold oval disc, “WERTHEIM / FRANCFURT” and picture of a dwarf with a hammer. Left footplate has script “Syst 182”, right footplate has stamp in oval shape “MANUFACTURED IN - - /SPECIALLY FOR / HUGO WERTHEIM” Serial Number “7501”flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, sewing machine, hand crank sewing machine, hugo wertheim, wertheim, clothing manufacturer, sewing, syst 182 -
Flagstaff Hill Maritime Museum and Village
Domestic object - Sewing Machine, 1903
Hugo Wertheim (1854-1919), was a merchant and manufacturer and was born on the 12th July 1854 at Lispenhausen, in the German electorate of Hesse-Kassel, son of Meyer Wertheim and his wife Minna, née Heinemann. Hugo reached Melbourne in October 1875. He soon began advertising, from premises at 39 Flinders Lane East, as agent for his father's cousin Joseph Wertheim, a well-established manufacturer of sewing machines. Hugo returned to Germany where he married Joseph Wertheim's daughter Sophie Emilie (1864-1953) on 30 August 1885 at Frankfurt. the couple then came to Melbourne. In a short time, with extensive advertising, Hugo established a substantial business, selling sewing machines, bicycles, pianos and other mechanical devices, under brands such as Wertheim, Electra, Planet, Griffin and Hapsburg. He also mounted elaborate displays at agricultural shows and in 1901 at the Pan American Exposition, Buffalo, United States of America. O. C. Beale worked with him before setting up his own piano business in New South Wales. Hugo continued to own 25 per cent of one of Beale's companies, which became Wertheim's Queensland business. In 1908 Wertheim opened a large, innovative piano factory at Richmond, Melbourne, intending to produce 2000 pianos and player pianos annually, predominantly using Australian materials. In laying the foundation stone, Prime Minister Alfred Deakin observed that “few men with such opportunities for a life of ease would have embarked on such an enterprise” Hugo died of chronic hepatitis on 11 July 1919 at his home at South Yarra, his wife, two daughters and three sons survived him; Herbert Joseph (1886-1972), the eldest, continued the business. Rupert became a share broker and went on to represent Victoria in inter-State tennis in 1913-27 and Australia in Davis Cup matches against Czechoslovakia in 1922. The piano factory closed in 1935, becoming a Heinz food processing plant and in 1955, GTV Channel 9 studios and offices.Early Australians had to be self-reliant in regards to making and mending their clothes and utensils. This sewing machine was one of many items used that exhibit the skill and craftsmanship of the women in these early families. A sewing machine was a necessary part of each home and this item demonstrates how women of the time managed had to become self-reliant in the repair and making of their families clothes to make their household budgets go further.Wertheim sewing machine in carry case, hand operated with two spindles, handle with locking pin, which turns lever between spokes of main handle, hand brake. The machine is table-mounted with a Turkish walnut base. The base can be attached to a cast iron table with a foot treadle as an optional extra. The walnut base has marquetry to the front set out as a measure for material. There is also an accessory box inside the carry case containing 20 additional items for use with the machine. Wertheim brass trademark badge riveted to the body of the machine of a crouching dwarf with a hammer with the name of the company Wertheim and Frankfurt. Gold filigree decoration in gold paint adorns the main body of the machine. flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, sewing machine, hand operated sewing machine, crank handle sewing machine, wertheim, dressmaking, taylor, domestic, clothing, hugo wertheim, joseph wertheim -
Kiewa Valley Historical Society
Book - Reference Cooking, SEC Cook Book of Family Favourites, Circa 1950
This SEC cook book was produced circa 1950s when the Kiewa Hydro Electricity Scheme and its Commission was in full swing. The Commission had constructed two settlements, Mount Beauty and Bogong Village to house construction workers and their families in a "closed" community. These "closed" communities were for SEC staff and construction workers only. Entry into these villages was restricted to "SEC pass" carrying construction staff and their families. All facilities such as retail, sporting and other community services was provided by the SEC. This created an isolated community in which limited individual choice or administrative family leeway was available. It was a typical company town (live and work for the company). The Company was in the Kiewa Valley constructing power stations for the Kiewa Hydro Electricity Scheme of Victoria. In one way the individual did not need to be concerned with living costs, educational needs for children, and recreational amenities and therefore "normal" community survival /living methods did not apply. This living, although restrictive, was quite simple. When the scheme was completed, in 1961, marking the end of company town, caused some of the employees, who had enjoyed the "controlled" township environment, a fair degree of angst in having the new 'laissez-faire" controls thrust upon them. This was magnified when both Mount Beauty and Bogong Village became meshed into the Bright Shire, vis-a-vis, local government. This cook book is a prime example of " the company is looking after you" and leave the worrying to us. This environment of a "company town", which creates the atmosphere of minimal personal responsibilities, is still present in a few remote mining towns in Australia at the beginning of the 21st Century.This book is a classical example of the psychological control in which the company had its construction workers families living in. The motto of many companies who had employees in isolated regions was "keep them happy". A happy and contented worker is a more productive worker. This was a period in time (1950s to 1970s) when social psychology was gaining recognition in the Australian workforce as well as internationally. At the end of the construction of all the power stations both the Mount Beauty settlement and the Bogong Village became more integrated into the main stream of rural Australia environment. Development of tourism in the region opened up not only interaction with a greater cross section of the ever expanding type of Australian but also the overseas based non rural culture tourist or immigrant. It allowed the intermingling of ideas in a non company controlled environment. The Mount Beauty and Bogong Village has, and even up to the 3000 Millennium, the same housing construction, as was built by the SEC. There has only been a very gradual change to modern domestic architectural home styles. This SEC cookbook has a folded cover with two staples at the spine, securing eight double sided pages. The white pages contain black print and sketches(3), and one black and white photograph (of the author). The front cover is mainly orange in colour with a gradual fading into yellow(at the top). The cover is approximately 210 g/m2 in thickness and each page is approximately 90 g/m2 thick. Front cover: top of page "SEC Cook Book of Family Favourites", in the middle a sketch, black on orange background, of a smiling mother walking from the kitchen to the dining table with a steaming rolled roast and vegetables in one hand and a gravy pot in the other. The furniture and decor relates to the 1950s. Below this sketch is printed"SEC TESTED RECIPES NO. 16" Inside cover: on top of the page is a black and white sketch of a pineapple, apple pear fish with scales, bunch of grapes with leaves a pork roll (head of pig one end and a roll ending on the other, on top of this food arrangement rests a fruit pie. Below this sketch are printed in black print the books contents.The first side of the first page is a black and white photograph Mary Dunne, the SEC Home Service supervisor who provided a signed foreword. The inside back cover has a promotional segment detailing a black and white photograph of a smiling (and happy) couple in the foreground with an electric stove in the distance. The written motto below this photograph is" to Live better -and save money they'll join the Power People. "the new tariff is(1960s) - First 75kWh --6 cents per kWh Next 435 kWh---2.3 cents per kWh Balance --1.7 cents per kWh The rate per killowatt-hour for the final block drops from 2.1 cents to 1.7 cents --a reduction of 19%.cooking recipes circa 1950s, domestic food, sec victoria cook books, recipes circa 1950s -
The Beechworth Burke Museum
Audio - Oral History, Jennifer Williams, Mr and Mrs Don Hayes, 20th May 2000
In this interview we hear from Don and Bobbie Hayes who met and were married in Beechworth. Mrs Hayes was born in Beechworth to a blacksmith and a teacher who had moved to the area not long before she was born in 1925. She discusses her family and the struggle her mother had being a city woman relocated to the bush and into a family who didn't accept her for her Methodist religious beliefs as they were a staunch Catholic family. After working in the Tannery when they first moved to Beechworth from Melbourne, Don got a job in the 1950's at the Beechworth Mental hospital known as Mayday Hills (est. 1862) and continued working there for the next thirty six years. Starting as a nurse Don would be one of three or four staff known then as attendants, who would oversee up to forty patients in a ward taking them out to work the land and gardens or chop wood on the grounds. Mrs Hayes also worked in the Hospital and discusses the need at the time to be earning to pay for large medical bills that came from two of their children, one having a congenital heart problem which was not covered by hospital benefits and the other displaced hips that required surgery. By the end of his time working at the hospital, Don was in charge of the patient training centre where those destined for discharge would be trained on how to cope in the world outside of the hospital grounds they were so used to. Both talk openly and with heartfelt candour, recalling their years spent among the patients of the hospital community, their sense of humour and compassion are evident and although the times and the jobs were definitely hard and the wages low, this couple cared deeply about the people they worked with and sit among those people from the local area who established Beechworth as a significant social welfare region. This oral history recording was part of a project conducted by Jennifer Williams in the year 2000 to capture the everyday life and struggles in Beechworth during the twentieth century. This project involved recording seventy oral histories on cassette tapes of local Beechworth residents which were then published in a book titled: Listen to what they say: voices of twentieth century Beechworth. These cassette tapes were digitised in July 2021 with funds made available by the Friends of the Burke.The significance of this oral history lies in the firsthand accounts from two people who were directly involved in the significant nursing work undertaken at Mayday Hills Mental hospital from the 1950's. Hearing the stories from those who were there and had lived experience, adds depth and we gain valuable insight into how and what the asylum was like for those who worked there and colourful details about the kinds of patients they encountered too, it adds human and personal context to what could otherwise become statistic and abstract information about a historic site. This oral history account is socially and historically significant as it is a part of a broader collection of interviews conducted by Jennifer Williams which were published in the book 'Listen to what they say: voices of twentieth-century Beechworth.' While the township of Beechworth is known for its history as a gold rush town, these accounts provide a unique insight into the day-to-day life of the town's residents during the 20th century, many of which will have now been lost if they had not been preserved.This is a digital copy of a recording that was originally captured on a cassette tape. The cassette tape is black with a horizontal white strip and is currently stored in a clear flat plastic rectangular container. It holds up 40 minutes of recordings on each side.listen to what they say, beechworth, oral history, burke museum, mayday hills hospital, may day hills, beechworth mental asylum, mental hospital, asylum, nursing, hospital, patient training centre, patients, social welfare -
4th/19th Prince of Wales's Light Horse Regiment Unit History Room
Photograph, Col Frank Pearson
Francis Charles Pearson was born on 23rd August 1913 in Ballarat. During the course of his long life -he died just before his 96th birthday - he was a successful businessman, notably in the field of air conditioning, as well as a world renown farmer noted for his cattle breeding methods. This was in addition to a meritorious military career. Frank Pearson enlisted as a 16 year old cadet in 6 Field Company, Australian Engineers on 29 Jan 1930., CSM in 1935, he transferred to 2 Field Coy RAE on 1 July 1936. Next, he joined the cadre of 2 AA Searchlight Coy, RAE and was commissioned on 14 Oct 1939. That unit became 53rd AA Coy, providing personnel for 1/54 AA Coy late in 1939. Lt Pearson was was 2IC at this time. When the unit was mobilised on 14 Sep 1940, T/Capt Pearson was appointed OC. Seconded to the AIF on 14 May 1941 he was appointed to raise A Squadron, 2/6 Armoured Regiment, and once that was done, he raised B Squadron. Promoted temporary Major in June 1942 he served with the regiment in Stuart tanks during the difficult operations around Cape Endaiadere and Buna from October 1942 until April 1943. After return to Australia the regiment waited in vain for further operational employment. Frank Pearson was demobilised on 23 October 1945. With the raising of the Citizen Military Forces in 1948, Major Pearson was appointed 2IC 8th/13th Victorian Mounted Rifles. On 1 January 1953 he assumed command of 4th/19th Prince of Walers's Light Horse Regiment, a post he held until the end of 1956. After service in more senior postings he retired with the rank of Colonel on 24 August 1964. From then until just a few years before his passing, Colonel Pearson remained actively involved in the life of his regiment. Following a couple of less successful attempts to do so, he was instrumental in establishing the regimental museum, these days the Unit History Room. Undaunted by a continuing sequence of changing venues it is to his credit that the history of the regiment is not only preserved but readily available to today's members of the unit and the general public. Coloured photo of Colonel Francis (Frank) Pearson OAM ED. Mounted in wooden frame.frank pearson, photographs -
Eltham District Historical Society Inc
Photograph, J.H. Clark, Maria Street, Eltham, c.1910
William Jarrold's cottage on left was used by the Police 1858-1860. The Court house and Police precinct (upper right) were opened in 1859-1860 Photographer: J.H. Clark John Henry Clark was the youngest of three boys born to William Henry Clark (1823-1877) and Maria White (1843-1914). He and his brothers, William Charles Clark (1872-1945), Clement Kent Clark (1874-1912) operated a photography business (Clark Bros.) from 25 Thomas Street, Windsor near Prahran during the period c.1894 to 1914. Following death of Clement in September 1912 and their mother in 1914, the Clark Bros business appears to have dissolved, the premises demolished, and a new house was under construction in 1915. John set up business independently in 1914 operating out of 29 Moor Street, Fitzroy where he is registered in the 1914 and 1915 Electoral Rolls. By 1916 John had relocated to Eltham where he continued his practice as a photographer and took many of the early images around the district of Little Eltham. Around 1930 John changed professions and opened a small cobbler's shop in 1931 near the pond opposite Dalton Street adjacent to the Jarrold family cottage. He never married and continued his profession as a bootmaker from this little shop, maintaining a close relationship with Mrs Jarrold for the rest of their lives. His bootmaker shop remains today beside the Whitecloud cottage and is one of only three remaining shops in the area from the early 20th century. There are a couple of images of Eltham taken by Clark Bros. in the Eltham District Historical Society collection, one such example being Hunniford’s Post Office with Miss Anne Hunniford out front (EDHS_00140 - marked on the back of the print, Clark Bros., 25 Thomas St. Windsor), which would date this image between c.1894 and 1914. Other early images of Eltham taken by John Henry Clark are marked on the face “J. H. Clark Photo” and it is assumed these are dated between 1914 and 1930. It is noted that the Grant of Probate for John H Clark of Eltham South dated 5 April 1957 (513/387) records his occupation as "X Photographer".Sepia postcardNotations in biro 'A. Petrie', rest in pencil as follows Telegraph poles show one wire No 1918 Avenue of Honour trees c.1907 Jarrolds house No shop at White Cloud on fence line Police Residence has extensions Chimney on wash house Office Brickwork on stables Lock-up, entry and window end Light lamp - cnr Dalton and Maria streets Surface damage to lower left cornermain road, eltham, maria street, dalton street, william jarrold, jarrold cottage, police residence, courthouse, j.h. clark photo -
Puffing Billy Railway
24 NB passenger carriage, 18/ 9/1909
24 NB - Carriage (NB 3rd series) 6 compartments (36) Vehicle Length 29 feet 6 inches ( 8992 mm) Coupled Length 31 feet 4 inches (9550 mm) Width 6 feet 7 inches (2007 mm) Height 9 feet 9 inches (2972 mm) Weight 11 tons Capacity 40 passengers, or 36 with guard's compartment. Built 1906 - 1915 Number Built (1st Series) 6 Number Built (2nd Series) 17 Number Built (3rd Series) 4 In use NB 24 VR Service History NABAB 4.VA - 18/ 9/1909 NWS Built new - circa 1910 - To NAB 4.VA - NAB 4.VA - 18/ 6/1917 - To NB 24.VA - *NB 24.VA - / 6/1926 - Modified AC Malco 19/ 1/1932 NWS Into Workshops - 10/ 5/1932 NWS Out of Workshops (113 days) 21/ 6/1933 NWS Into Workshops - 17/ 8/1933 NWS Out of Workshops (58 days) 28/ 8/1934 NWS Into Workshops - 13/ 9/1934 NWS Out of Workshops (17 days) 9/ 2/1937 NWS Into Workshops - 17/ 3/1937 NWS Out of Workshops (37 days) 31/ 5/1940 NWS Into Workshops - 5/12/1940 NWS Out of Workshops (189 days) 27/ 1/1948 NWS Into Workshops - 29/ 7/1948 NWS Out of Workshops (185 days) 12/12/1954 - Scrapped Body to Eng. Spcl Works 17/ 8/1957 - Traced at Stocktake STET - Return to Register Puffing Billy Service History or Notes NB (3rd series) The Puffing Billy Railway built a guard's compartment built in 24 NB. This reduced the passenger capacity to 36. The car retained its classification as NB in an attempt to emphasise that this was only a temporary conversion. The NBC classification was already in use. One day the guard's compartment will be removed and the vehicle returned to the classification of NB. The guard's compartment has a radio, air brake taps and gauges but no hand brake.Historic - Victorian Railways Narrow Gauge - Passenger Rolling Stock: NB Passenger carriage Passenger carriage 24NB - Carriage (NB 2nd series 6 compartments), Timber body on a steel frame 24NBpuffing billy, 24nb, nb passenger carriage, 2'6" guage, victorian railways, narrow gauge passenger rolling stock -
Puffing Billy Railway
6 NB - Saloon carriage, 22/ 8/1904
NB Class - Number Built (1st Series) 6 - Number Built (2nd Series) 17 - Number Built (3rd Series) 4 6 NB - Saloon carriage (24) Body Length 20 feet 6 inches ( 6248 mm) Vehicle Length 25 feet 2 inches ( 7671 mm) Coupled Length 27 feet 4 inches (8330 mm) Width 6 feet 3 inches (1905 mm) Height 9 feet 5 inches (2870 mm) Weight 8 tons Capacity 16 passengers Built 1898 - 1904 Number Built 6 In use NB 1. NBD 2, 5 Awaiting restoration NB 6 VR Service History NBB 6.VA - 22/ 8/1904 NWS Built new - circa 1910 - To NB 6.VA - *NB 6.VA - / 4/1926 - Modified AC Malco 4/ 3/1938 - Scrapped - Puffing Billy Service History or Notes NB (first series) NB - There were three types: -Nos. 1-6 were Saloon cars having end platforms and a ladies toilet, and were built from 1899-1904. Nos. 7-23 were 5-compartment side loading cars, built from 1906-1915. Nos. 24-27 were the former NAB class cars mentioned previously and were also side loading, having 6 compartments and two ladies toilets. Rescued by the Puffing Billy Preservation Society from Ocean Grove Victorian in Nov 2010 Nov 2010 Two carriages have been rescued from Ocean Grove where they had been built into a house. They are now at Emerald, one being a platform NB carriage and the other a swing door NB carriage. Storage of these vehicles is being considered. Many people were involved in the move: thanks go to Raymond and Thelma Cotter for providing tarps to protect the cars from the elements. Dec 2010 Two carriages rescued from Ocean Grove are now at Emerald, one being a platform NB car (6NB) and the other a 2nd Class swing door carriage. Minor refurbishment has taken place along with covering with Tarpaulins.Historic - Victorian Railways Narrow Gauge - Passenger Rolling Stock: Saloon carriagePassenger Rolling Stock: Saloon carriage 6NB - Made of Timber. 6 NBpuffing billy railway, pbr, rolling stock , 6 nb, puffing billy, 6nb, saloon carriage, victorian railways, narrow gauge passenger rolling stock, 2'6" guage