Shoe-making began in Australia among the penal colonies in 1790 who crafted shoes from imported leather. The first Australian-made shoes were expensive and many people were sent back to England for their shoes until the 1830s. However, in the years after Australian shoe-making became more accessible and affordable. Toward the end of the 19th Century, many wealthy women became obsessed with the latest fashions for both themselves and their children. Shoe-making became a profitable business for several leading companies during the 20th Century, as the industry was seen as a successful and practical item that most Australians required.The baby shoe holds significance as it represents the craftsmanship of Australian leather shoe-making from the 20th Century. As the style of shoe is more modest and stylish, it can be assumed that it was the type of footwear used for the Church Sunday Service or for special occasions, with further gives insight into the social constructs of Chiltern, a rural town in Victoria, at that time.Black leather with wool pom pom attached with a metal stud. Leather sole is black and the inner of the shoe is cream. Discolouration on the bottom of the shoe due to dirt.chiltern, shoe, footwear, leather shoe, baby shoe, chiltern athenaeum

Shoe-making began in Australia among the penal colonies in 1790 who crafted shoes from imported leather. The first Australian-made shoes were expensive and many people were sent back to England for their shoes until the 1830s. However, in the years after Australian shoe-making became more accessible and affordable. Toward the end of the 19th Century, many wealthy women became obsessed with the latest fashions for both themselves and their children. Shoe-making became a profitable business for several leading companies during the 20th Century, as the industry was seen as a successful and practical item that most Australians required.The baby shoe holds significance as it represents the craftsmanship of Australian leather shoe-making from the 20th Century. As the style of shoe is more modest and stylish, it can be assumed that it was the type of footwear used for the Church Sunday Service or for special occasions, with further gives insight into the social constructs of Chiltern, a rural town in Victoria, at that time.Black leather shoe. Leather sole is black and the inner of the shoe is tan. Discolouration on the shoe due to dirt.chiltern, shoe, footwear, leather shoe, baby shoe, chiltern athenaeum

Women production workers at Queensland Industrial Institute for the Blind. 1 - Daphne Lawson, Eileen Henry, Barbara Harding and Rosemary Davis at their respective workstations making toilet brushes or caning chair. 2 - Another view of the room. Barbara Harding and Rosemary Davis sit making toilet brushes, whilst Daphne Lawson and Eileen Henry stand to make cane chairs.2 x B/W photographs of four women in workshopC2-6330, C2-6329queensland industrial institute for the blind, daphne lawson, eileen henry, barbara harding, rosemary davis, employment

British military saddle as used in WW1. The saddles were designed to have interchangeable parts, making them easy to repair.Military steel arch brown leather saddle. Tree is made of wood with thick blue felt pads and leather attachments. Neither is original. Various brass rings located on the saddle for attaching sundry equipment. Brown leather strap with silver coloured metal buckle attached to the rear right hand side of the tree. No stirrups, stirrup leathers or girth attached. The leather seat covers the frame of the saddle between the front and rear arches and is connected to them by khaki webbing and leather laces. Leather sweat flaps on each side. Leather straps and brass buckles on the front of each pad.Stamped on the front of the seat: '1916, 13'. Stamped on each sweat flap: '1916, 13'.military equipment, saddle, horse equipment, transport

Pamphlet contains psalms, hymns, lessons, commemoration of the fallen, rear page has suggestions for Committees making local arrangements.Pamphlet “Peace Celebrations” and order of Thanksgiving to Almighty God, off white colour rectangular shape, 7 pages all print in black.On the front, “For the Blessing of Peace after the War of 1914 - 18”pamphlets, peace celebrations

From forward: A celebration of 150 years of making the people of Sandhurst, Bendigo, the Loddon Mallee Region, etc much healthier.A pictorial history of the Bendigo Hospital. .1) Hard cardboard cover with glossy finish. 232 pages, cut, plain, glossy white. Illustrated with black / white photos, illustrations & posters. .2) Dust cover with glossy finish. .1) & .2) Gold / white print on front & spine. Covers illustrated in colour of a view of the Bendigo Gold District Hospital - undated, probably 1880's. books- military history, bendigo, hospital

The Ballarat School of Mines was established in 1870. The first enrolments took place in 1871 making this group of documents historically important.Paper documents relating to the advice being sought by the Sandhurst Mechanics' Institute from Ballarat School of Mines in relation to starting a School of Mines at Bendigo. .8) Correspondence to the Ballarat School of Mines from Joseph Phillips of the Sandhurst Mechanics' Institute and Free Library. The letter seeks advice on setting up a School of Mines in Bendigo. The correspondence was dated 01 January 1871, was signed by Joseph Phillips, and was answered on 04 January 1871. .14) Ballarat School of Mines Council Agenda, 20 January 1871. Signed by James Baker, secretary. .18) Letter from R.M. Serjeant to the Ballarat School of Mines dated 09 January 1871. .22) Letter from prospective student A. Ansaldi regarding starting at the Ballarat School of Mines. .24) Letter from prospective student James Hore regarding starting at the Ballarat School of Mines. .26) Memorandum during the Mechanics' Institute Sandhurst requesting information concerning teachers. Dated 25 April 1871. .27) Sandhurst Mechanics' Institute & Free Library requesting information from the Ballarat School of Mines in relation to numbers of pupils, number of paid staff, number of honorary staff, salary of head master and whether the school was a success. It is dated 19 April 1871 and is signed by Joseph Phillips. .35) My dear sir If it will suit youor convenience I take the liberty of appointing Friday the 2nd of June for my lecture on Geology at the School of Mines. You expressed a wish to assist me in any diagrams that it might be possible to obtain. In am very anxious to have a large map of the solar system. One that might be clearly seen from any part of the Hall. It will be of great importance to my lecture. [ ? ] diagrams I will find it necessary to prepare myself. I am most faithfully H. B. de la Poer Wall R.W. Newman Esqr Vice President PS as the whole of my lecture depends on the hearing the early part it might be well to put in the Advt at 8.00 punctually. In announcing my name it might be well to put ex-Fellow of the Royal Geological Society. Asking your pardon for these suggestions. Sebastopol June 14th 1871 Gentlemen, I am desirous of joining the classes of Surveying, drawing, &c in your valuable Institution.i am 16 years of age, and been through the 1st first book of Euclid, Decimals &c. Trusting to meet with your approbation. I am gentlemen, Yours obedietly A. Ansaldi To the Administrative Council School of Mines Ballarat Darling Streetl Ballarat July 1871 To the secretary of the School of Mines Ballarat. Sir, I called on Monday but you were not present but I saw Mr Phillips and he informed me that I might commence at once, and that my nomination &c might be going on in the mean time. If there be any objection to my joining the classroom Monday night, will you be good enough to let me know. Yours &c John Hore. Sandhurst April 25 1871 To The secretary School of Mines, Ballarat, Please let me know what subjects your paid instructor teachersl JP By Jas Philipsballarat school of mines, bendigo school of mines, sandhurst school of mines, sandhurst mechanics' institute, bendigo, sandhurst, joseph phillips, phillips, hore, john hore, james phillips, ansaldi, ballarat school of mines establishment, robert borugh smyth, robert m. sergeant, james baker, de la poer wall, warrington rogers, h.b. de la poer wall, r.w. newman, lecture, royal geological society, a. ansaldi, mechanics' institute sandhurst, r.m. sergeant

Silcrete and quartzite can create sharp flakes and have been important materials for stone tool making by Aboriginal AustraliansTwelve pieces of partially worked stone by Aboriginal people. Flakes or core, silcrete or quartzite. 8968.1 - Silcrete, pale material is anatase 8968.2 - Silcrete 8968.3 - Silcrete 8968.4 - Quartzite 8968.5 - Quartzite 8968.6 - Quartzite - heavily cemented on metamorphosed sandstone 8968.7 - Silcrete 8968.8 - Quartzite 8968.9 - Silcrete in sandy texture (others muddy texture) 8968.10 - Quartzite 8968.11 - Silcrete - part course, part fine, not neatly layered 8968 - 12 Silcrete - two textures - partly muddy, partly sandy stone, aboriginal, aborigines, stone tools, silcrete, quartite, flakes, tools

Part of traveling salesman's lace samples from Plauen, East Germany, a Lace making town since 13th CenturyPiece cream lace used for demonstration purposesOn Display Stand, C. R. Eichhom Plauen I. V.handcrafts, lacemaking

Part of a travelling salesman's lace samples from Plauen, East Germany, a lace making town since 13th Century.Cream Guipere lace piece used for demonstration purposeson display stand ' C. R. Eichhom Plauen I. V.handcrafts, lacemaking

Part of a travelling salesman's lace samples from Plauen, East Germany, a lace making town since 13th Century.Cream piece of lace used for demonstration purposes.On display stand ' C. R. Eichhom Plaven I. V.handcrafts, lacemaking

Part of a travelling salesman's lace samples from Plauen, East Germany, a lace making town since 13th Century.Piece cream Guipere lace used for demonstration purposeson display stand ' C. R. Eichhom Plaven I. V.'handcrafts, lacemaking

Part of a travelling salesman's lace samples from Plauen, East Germany, a lace making town since 13th Century.Piece cream lace used for demonstration purposeshandcrafts, lacemaking

Part of a travelling salesman's lace samples from Plauen, East Germany, a lace making town since 13th Century.Piece cream lace used for demonstration purposeshandcrafts, lacemaking

Part of a travelling salesman's lace samples from Plauen, East Germany, a lace making town since 13th Century.Cream lace piece used for demonstration purposeshandcrafts, lacemaking

Part of a travelling salesman's lace samples from Plauen, East Germany, a lace making town since 13th Century.Piece of cream lace used for demonstration purposesFriedrich Seidel, G. m b. H. Plaven I. V. No A11704 5 7-2handcrafts, lacemaking

Part of a travelling salesman's lace samples from Plauen, East Germany, a lace making town since 13th Century.Piece of cream lace used for demonstration purposesFriedrich Seidel, G.m.b. H. Plaven , I. V. No. A11705 7 7-4handcrafts, lacemaking

Part of a travelling salesman's lace samples from Plauen, East Germany, a lace making town since 13th Century.Piece of cream lace used for demonstration purposeshandcrafts, lacemaking

Part of a travelling salesman's lace samples from Plauen, East Germany, a lace making town since 13th Century.4 sample pieces of cream machine made lace stitched to backing board.On display stand ' C. R. Eichhom Plaven I. V. 'handcrafts, lacemaking

A two sided pruning saw blade has a top cutting edge used for making an undercut of a limb while the bottom cutting edge is used for regular pruning. One side of the blade has very coarse, irregularly sized teeth for cutting quickly through large branches. The other side of the blade has fine teeth for making clean cuts on small branches and dead wood.This tool is an example of an early pruning saw commonly used in Orbost.Pruning saw with wooden handle and double sided toothed blade. The wooden handle is attached with three screws. The steel blade has teeth on both edges - small on one side and longer on the other.tool pruning-saw horticulture

Small booklet produced by the Australian Branch of the Red Cross Society, Headquarters and Central Depot, with guidelines for making donations of goods such as clothing, linen, blankets, bandages, books and food items to the Australian War effort and instructions for knitting woollen items of clothing intended for defence personnel on active service. The booklet is not dated however it is from the WW1 era and has twenty pages.The booklet front page has the following text: "RED CROSS SOCIETY", "AUSTRALIAN BRANCH", "Headquarters and Central Depot" and a note printed in red "When forwarding parcels, send by post complete duplicate list with number of each article to Officer-in-Charge." The Red Cross symbol is featured in the form of a red +.

Journalist Trish Lewinski became a member of the University of Ballarat External Relations staff in February 1998. She died after surgical complications on 19 July 1999.Four items relating to Super 8 film making. .1) Nalcom Super-* Synchro Zoom Camera, in black vinyl .2) Johnson Monolight photoflood camera attachment, without bulb .3) Eumig 604 Super8 Film camera .4) A set of 8 reels of film, of various sizes Gift of John Jenkinson in memory of his daughter, Trish Lewinskisuper 8, super-8, film making, movie making, trish lewinski, super-8 camera, camera, film, photographic equipment

Coloured slide transparency. Image is of a male dressed in a white coat, with a shirt, tie and vest underneath. He is standing with a glass beaker containing a dark liquid in his hand. He is pouring the liquid into a large glass vessel on the bench. There are several glass containers on a shelf above the bench. The words Organic lab McCrae St Peter Ellis making up Carboy Km nOKodachrome Transparencyslide, bendigo, bendigo institute of technology

Six photographs (four in colour and two black and white). The first photo shows two men carrying a banner: Chairman's trophy best float by first time entrant Moomba procession 1974, Sandhurst Boys Centre, Bendigo, in front of the car towing the float. The other photos show the float called "Miss Muffet" making its way through the streets of Melbourne.bendigo, institutions, sandhurst boys centre

The origins of the humble handheld driptorch have been lost in time. They are widely used for ignition in controlled burning operations in forest and grasslands. The “Pacific Forester“ with its short central wand and somewhat leaky ball-valve was made by the American Wajax company in the 1940s. The Pacific Forester is slightly different in design from the more robust and common “Panama” driptorch first manufactured in 1933 and used extensively by Queensland cane farmers. The Panama is closely related to the current “Firebug” used in Victoria which is manufactured by Rodney Industries in Brisbane and has an offset wand design which gives it good balance. The fuel is a mixture of petrol and diesel and every FCV District had their own closely-guarded secret formula ... 2:1, 3:1, 1:1, 4:1 or 3:2 ratio. There was also the choice of 91, 95 or 98 octane petrol mixed with summer or winter diesel. Occasionally some of the old Avgas or Jet-A1 lying around the depot was added with a splash of engine oil to make the mixture stick to the fuel to be ignited. The fuel mixed also varied between autumn or spring, heathland, mixed forest, or high-intensity slash burnsCommon driptorch used throughout AustraliaDrip torch with handle Wand has loop and valve. The loop is designed to assist with even flow of fuel which flows out onto the burning head of the wand. Pressure equalising value in top of aluminum fuel container which holds 4 litres of burner mix. Gravitational feed of the driptorch allows the unit to drip fire, making it simple and quick to operate. Instructions for use. CF+L written with texta pen.bushfire

Newspaper clipping from The Courier, Ballarat, 2/9/1971 titled ""Bus Takes Over" & "Trams Crusader still campaigning". Has a photo of people boarding a route 15 bus for Sturt St. West and an item about Mr. Alf Mercer making an emotional please for support in his campaign for the trams. Item notes that Mr. Mercer is a tram driver.closure, buses

I conceive my work as unfinished fragments of memory and childhood rituals, and through the art making process, I build and then peel back the layers of these memories and early influences, to reveal my personal dreamscape. Through the fusion of colour, texture, mark making and rubbing back, my intuitive rendering of the media creates layers that like memories, can be stacked up, hidden, peeled away, rubbed out, etched back in, and the process of layering and building up of a tactile textured surface, reflects memory itself; with its elusiveness and hard to grasp impressions that are more like ingrained watermarks. As I work, layering the surface then taking it back; rebuilding, adding marks and burnishing back, I feel into the textures, and through this tactile rendering I often discover something unintended and the end result is not quite how I perceived it in the planning. Perhaps something of a happy accident, which again reflects the arbitrariness of memory. I see my artworks less as paintings, but assemblages, with the layering technique creating a sculptural effect that reflects my great interest in the landscape and its beautiful and varied colours, shapes and textures. Part of my process is to take long drives into the country where I grew up, photographing along the way, to create a visual documentary that then informs my practice. The wide paddocks of the Victorian wheatbelt, beneath the endless blue of the horizon evokes very early memories so that a singular Bullock, a fencepost, a hay roll or corrugated iron wall, is so uniquely resonant to me, I am compelled to create this in my work. My connection to the land, to farming practices; the poplars, oaks and elm trees of my childhood holidays, is a mindscape that I return to again and again as I try to recreate that early sense of wonder, love and familiarity, grief and joy, that forms my unique vision. Veronica DRUM (1967 - ) Born Donald, Victoria A student at Federation University Arts Academy from 2015 until 2019, Veronica Drum is committed to establishing regular studio practice. Veronica Drum made this work in the final studio semester of the Bachelor of Visual Arts at the Federation University Arts .Academy.Framed Mixed media artwork depicting the Ovens Rivers, Victoria. Artists' Statement: Through the fusion of colours, textures, mark-making and a 'rubbing back' process, my intuitive rendering of the chosen media creates layers in my artwork that reflect and build upon cherished childhood memories. This work won the 2019 Federation University DVC 2D Art Acquisition Award.veronica drum, mixed media, alumni, oven river, dvc art acquisition award, trees, landscape, treescape

Local women made this quilt and book in 2004 over a period of four months. Meg Viney fibre artist and then director of Meeniyan Art Gallery initiated the project. Handmade and machine embroidered quilt with 16pp handmade book. The quilt celebrates the lives of local women in our rural environment. The quilt features cyanotype printed images of the women surrounded by blue floral-patterned fabric and gold/brown patterned trim. The book features handmade paper pages with images and stories on each of the women who were involved in the making of the quilt.