This photograph is held in the Ballaarat Mechanics' Institute Audio Visual Collection. Please contact BMI for all print and usage inquiries. Arthur Leckie was born in Sebastopol on 16 August 1876. In 1878 the family moved into their newly built home, Blythewood Grange, in Sebastopol. Arthur attended Grenville College and commenced Ballarat College in 1893. He was Apprentice as an Ironmonger at 'The Present Day Ironmonger' in Bridge Street. He next worked for William Dawson, Ironmonger, in Sturt Street, next to old The Courier Office. After the death of his father in 1893 the family moved out of ‘Blythewood Grange into Ballarat. Arthur and his brothers Robert and Harold built their own automobile in the sheds behind their house, commencing in 1899 and having it ‘on the road’ in 1901.ballarat, arthur leckie, car, 1899

With the visit of the American Fleet to Melbourne in early September 1908, volunteers from the the Automobile Club of Victoria took 100 officers on an excursion to the Black Spur past Yarra Glen on the 4th September 1908. (The area we know today as the Yarra Valley). The convoy travelled through Eltham, Research and Kangaroo Ground, where a group of women gathered to wave to them. This was one of the first motor vehicles to pass through Research. The visit of the American Fleet was a big deal at the time. A Program of activites was compiled. City buidlings were illuminated, a State reception was given and a concert was held. The Federal Parliament sat in Melbourne at that time. This photo was made using a home-made camera constructed by the photographer Tom Prior (brother of Mrs E.R. Reynolds). Reproduced on p86 of 'Pioneers & Painters'This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book,"Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.Digital image 4 x 5 inch B&W Negsepp, shire of eltham pioneers photograph collection, research (vic.), u.s.a. fleet, automobile club of victoria, drive, excursion, visitors, welcome, usa fleet, us fleet, waving, tom prior, pioneers and painters, reynolds prior collection, u.s fleet

Vacuum Road Map of South Australia with Interstate Routes with the Compliments of the Vacuum Oil Company Pty. Ltd. Coloured map of S.A. with car, trucks, aeroplane and petrol bowsers on the map. Map only shows the Southern half of S.A. On the back is Adelaide-Melbourne Routes, Traffic Hints, Eucla to Perth, Tours Around Adelaide, Acknowledgement to the Royal Automobile Association of South Australia, Inc., Darwin-Adelaide Routes, Outlets of Adelaide, Vacuum Products, What to See in Adelaide, Super Plume Ethyl, Making Sure of a Trouble-Free Trip, and the front cover. Also folded in the map is a small map from Hancock's Garage, Kingston with routes from Melbourne to Adelaide and distances. On the back is an advertisement for Hancock's Garage and a map of Kingston. Map folded and kept in a light green cover.map, bill ashman collection - correspondence, vacuum road map of south australia, vacuum oil company pty ltd, commissioner of crown lands for south australia, royal automobile association of south australia, inc.

"Jones purchased a quiet little weekend retreat in the hill', published in 1928. Black and white drawing from a Bird’s eye perspective showing a house with veranda surrounded by shrubbery and a large gum tree. It features numerous people in the garden with a road full of various automobiles at the top of the picture. The image is reminiscent of the artists “Wiregrass” series of a mythical country town which were published in the Weekly “Table Talk” magazine from 1926 to 1937. Percy Leason (1889 - 1959) was a painter and cartoonist renowned for his depictions of Australian society in the 1920s and 1930s. He lived in Eltham from about 1924 to 1938 when he moved to the USA. Published by Thomas Nelson, Carlton date unknown. Published in "Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall" (1971) Chapter 16 Eltham in Modern Times, page 97.This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book, "Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.Digital imagesepp, shire of eltham pioneers photograph collection, eltham, percy leason, drawing, illustration

Photos taken by Victor Cycril Smith on his journey home after serving overseas in World War 1. Victor embarked on the HMAT Port Sydney in England on 22 September 1919. The vessel carried 1,307 men. The first home port was Fremantle where 170 disembarked before continuing the trip stopping at Adelaide where 101 soldiers disembarked. The next port was Melbourne and arrived in Melbourne On 12 November 1919, the ship arrived in Melbourne where 340 Victorians and 35 Tasmanians disembarked. They were motored through the city by the Royal Automobile Club and were greeted in the usual hearty fashion, crowds of men, women and children congregated at various points along the way to shout and cheer and wave flags in welcome. The soldiers from New South Wales, 430 and Queensland, 515 boarded special trains to take them home.Victor Cycril Smith was the son of a pioneering family in the Shire of Moorabbin. Six black and white photographs taken on board HMAT Port Sydneywwi, hmat port sydney, soldiers, victor cycril smith, moorabbin, world war one, bentleigh

From January 1959 and until 1982, “Cosmopolitan Motion Pictures”, owned by Mr Peter Yannoudes (Παναγιώτης Γιαννούδης) and Mr Stathis Raftopoulos (Στάθης Ραφτόπουλος) travelled around Australia to entertain the Greek, Turkish, Indian and Yugoslav speaking population of Australia and provide a significant cinema culture. They travelled as far as Perth in WA, Adelaide in SA, Tasmania, Darwin in Nt, Canberra in ACT and Sydney and NSW. However they found themselves also in places like Berri and Renmark in NSW, where concentrations of migrants lived and thrived during the period. Initially they were travelling by train, carrying all their equipment by hand and placing them in boxes and suitcases. However after 1962 when they acquired their first automobile, travelling became less of a burden, nevertheless cumbersome and laborious. They carried with them initially two portable projectors (second one as a backup) and at times travelled with a third in order to ensure that technology will not be letting them down at the time of film projection. At times the films were projected onto a white sheet of cloth because there was no proper screen to project it on at the venue they were using.Primary historic significance in the context that it was used, as well as rarity significanceMetal adjustable height, hand operated drill. Rusty appearance. It seems to have a small piece at the bottom broken off, but still in working order according to Mr P. Yiannoudes. This drill was used to drill holes in cinema light carbon sticks in order to extend their life.drill, carbon, film, entertainment, greek, language, hand, yiannoudes, γιαννούδης, τρυπάνι

A porthole, sometimes called bull's-eye window or bull's-eye, is a circular window used on the hull of ships to admit light and air. Though the term is of maritime origin, it is also used to describe round windows on armoured vehicles, aircraft, automobiles (the Ford Thunderbird a notable example) and even spacecraft. On a ship, the function of a porthole, when open, is to permit light and fresh air to enter the dark and often damp below-deck quarters of the vessel. It also affords below-deck occupants a limited view to the outside world. When closed, the porthole provides a strong water-tight, weather-tight and sometimes light-tight barrier (not in the case however). A porthole on a ship may also be called a side scuttle (side hole), as officially termed in the International Convention for the Safety of Life at Sea. This term is used in the U.S. Code of Federal Regulations. It is also used in related rules and regulations for the construction of ships. The use of the word "side scuttle" instead of "porthole" is meant to be broad, including any covered or uncovered hole in the side of the vessel. This porthole is a useful demonstration of naval technology to give people an insight into life at see. Small windows such as this example could be all people would see on long see voyage across rough seas. Commanding officers scuttle made of brass with glass opening windowmaritime technology

The first bicycles arrived in Australia in the 1860s. They gradually gained in popularity and by the 1890s they offered a cheap and relatively comfortable mode of transport. Far being just a means of leisure, long distance cycle travelling became a fact of life in rural areas for people such as sheep shearers and other agricultural labourers with migratory work. The bicycle and swag travelled much of Australia on dusty dirt tracks, long before the automobile was introduced. Today the bicycle continues to be an important item for general, cheap transport, sport and leisure. Tool kits such as those shown in the item, were and important piece of equipment for bicycle enthusiasts, particularly on a longer ride where assistance may not be close by if the rider experienced a punctured tyre. John Bull Rubber Co. Ltd. was a British tyre manufacturer based in Leicester. It was established in 1906 and was originally named Leicester Rubber Company. In 1915, a new factory was built in Evington Valley Road as indicated on the repair outfit tin in this kit. It was renamed John Bull Rubber in 1934 after its popular product of the same name. In 1958, the company was acquired by Dunlop Rubber. A leather bag containing tools and 2 tins containing rubber patches to repair bicycle tyres. The bag has 2 straps and metal buckles to attach it to the back of the bicycle seat.On tin 1: "The John Bull / Repair Outfit/ John Bull Rubber Co. Ltd./ Evington Valley Mills, Leicester" On tin 2: "ZENITH Repair Outfit / For Cycle and Rubber Repairs/ Self Vulcanizing" On tin 3: Around the DUNLOP logo "Six Self Lighting/ Patch Heat Units / For Cycle Tube/ Vulcaniser"bicycle history, bicycle repairs, john bull rubber, cycling leisure

From January 1959 and until 1982, “Cosmopolitan Motion Pictures”, owned by Mr Peter Yannoudes (Παναγιώτης Γιαννούδης) and Mr Stathis Raftopoulos (Στάθης Ραφτόπουλος) travelled around Australia to entertain the Greek, Turkish, Indian and Yugoslav speaking population of Australia and provide a significant cinema culture. They travelled as far as Perth in WA, Adelaide in SA, Tasmania, Darwin in Nt, Canberra in ACT and Sydney and NSW. However they found themselves also in places like Berri and Renmark in NSW, where concentrations of migrants lived and thrived during the period. Initially they were travelling by train, carrying all their equipment by hand and placing them in boxes and suitcases. However after 1962 when they acquired their first automobile, travelling became less of a burden, nevertheless cumbersome and laborious. They carried with them initially two portable projectors (second one as a backup) and at times travelled with a third in order to ensure that technology will not be letting them down at the time of film projection. At times the films were projected onto a white sheet of cloth because there was no proper screen to project it on at the venue they were using. This projector stand was the actual projector stand used in their trips around Australia.Historic and rarity (only one left that was used by "Cosmopolitan Motion Pictures") Primary significanceMetal construction Projector tripod with a cloth on top to stop damaging the projectors. It has an adjustable height depending that extends to about 1.5 metres.T.J.N. Macey - Toolmaker and Manufacturing Engineerstand, tripod, projector, film, culture, language, greek, entertainment, yiannoudes, γιαννούδης, τρίποδο

From January 1959 and until 1982, “Cosmopolitan Motion Pictures”, owned by Mr Peter Yannoudes (Παναγιώτης Γιαννούδης) and Mr Stathis Raftopoulos (Στάθης Ραφτόπουλος) travelled around Australia to entertain the Greek, Turkish, Indian and Yugoslav speaking population of Australia and provide a significant cinema culture. They travelled as far as Perth in WA, Adelaide in SA, Tasmania, Darwin in Nt, Canberra in ACT and Sydney and NSW. However they found themselves also in places like Berri and Renmark in NSW, where concentrations of migrants lived and thrived during the period. Initially they were travelling by train, carrying all their equipment by hand and placing them in boxes and suitcases. However after 1962 when they acquired their first automobile, travelling became less of a burden, nevertheless cumbersome and laborious. They carried with them initially two portable projectors (second one as a backup) and at times travelled with a third in order to ensure that technology will not be letting them down at the time of film projection. At times the films were projected onto a white sheet of cloth because there was no proper screen to project it on at the venue they were using. This winder was part of the equipment they carried around Australia Historical significance Primarily as it is the actual unit used to manually rewind all films.A film rewinding gadget, perhaps home made, with a wooden base, two reels, and an metal winder used for transferring the film from one reel to the next."Premier - Made in England"winder, film, entertainment, language, greek, yiannoudes, γιαννούδης, plutarch

Yields information about the appearance of Bendigo Birney trams early 1970's and the Charing Cross area.Black and White Photograph of Bendigo No. 11, Birney, stored in the Bendigo tram depot, early 1970's following an accident. See Bendigo Tramways excerpt re this tram, ex their web site 9/6/2009. Has another, possibly stored tram along side. Photo shows the damaged end panel removed, distorted bumper bar and broken life guard tray. Photo Chris Wurr, early 1970's. "In 1968, the SECV assessed damage to the tram after an accident with an automobile. Upon inspection, it was found that the side bearers of the tram body had spread, and the centre bearers had been severely distorted because of the impact. Repairs of this nature required costly engineering work and with the closure of the tramway being imminent, it was decided to place Car 11 in storage on 6 road until the cessation of SECV services in 1972. Work commenced on the restoration of this tram in 1975 and it returned to service in 1986, being painted in the SECV livery of the 1950s." See Bendigo Tramway web site, accessed 9/6/2009 for notes re accident damage."Photo by Chris Wurr" stamped on the rear. On rear in pencil "B'go 11"trams, tramways, bendigo, depot, tram 11

Possibly a picnic for returned servicemen from Gallipoli. This photo was taken in front of the Police Paddocks with the police station on the left. Model T Fords parked with soldiers, drivers and locals resting on the police paddock in front of the Queenstown (St Andrews) station. The RACV Volunteer Motor Corps service during World War One was the reason the organisation was granted its Royal prefix. Automobile Club of Victoria members volunteered their time and vehicles to collect returning soldiers and nurses from ships at Princes Pier, Port Melbourne. Trips were also often arranged for convalescing soldiers to country areas for picnics and to “revive spirits”. The soldiers were also picked up from the Austin Hospital in Heidelberg and Mont Park Military Hospital in Macleod. Queenstown (St Andrews) was a common picnic spot. The Evelyn Observer reported on June 9. 1916 "Some 75 returned soldiers visited Queenstown on Sunday, 28th ult., and were hospitably entertained by local residents who had provided refreshments sufficient for 150. Mr. Milne in an appropriate speech welcomed the soldiers, and Mr. Robison suitably responded.” The photo was reproduced page 108 of “The Diamond Valley Story" by Diane H. Edwards.This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book,"Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as the 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.Digital image, 16 x 24 and 12.5 x 9 cm and 4 x 5 inch B&W Neg sepp, shire of eltham pioneers photograph collection, queenstown, cars, police station, st andrews, soldiers, picnic, exhibition yprl 2019-12, gallipoli, model t ford, pioneers and painters, police paddocks, retuned soldiers

Six grey soft covered Coventry Engineering Society Journals. .1) Vol. 6 No. 3, March 1925. Includes * The Influences of Rates of Colling upon Cast Iron by H. Beeny * Pulverised Coal by J. Pickin (Junior) .2) Vol. 7. No. 1, January 1926. Includes * Coventry Engineering Society Annual Report * Road Springs by C.E. Cary .3) Vol. 7. No. 2, February 1926. Includes * Some methods of Testing Engines by G.H. Walker Vol. 7. No. 3, March 1926. Includes * Notes on the Disposal of a Town's Refuse by H.L. Bunting * How roadcasting is Done by J.A. Cooper Vol. 7. No. 4, April, 1926. Includes * The Applicaton of Thermionic Repeaters to Long Distance Telephony by H.C. Hannam-Clark Vol. 7. No. 5, May 1926. Includes * Automobile Design by W. Ferrier Brown * Floodlighting and its Possibilities by H.C. Wheat Vol. 7. No. 6, June 1926. Includes * Machines for Testing Materials by H.N. Cox * Characteristics and uses of Ground Gears by H.F.L. Orcutt * Instruments for Recording Minute Oscillations * Characteristics of Iron Ores by A.J. Aierscoventry, engineering, coventry engineering society, peterborough cathedral, cast iron, h. beeny, pulverised coal, j. pickin (junior), road springs, c.e. cary, testing engines, g.h. walker, disposal of a town's refuse, h.l. bunting, roadcasting, j.a. cooper, thermionic repeaters, long distance telephony, h.c. hannam-clark, automobile design, w. ferrier brown, floodlighting, h.c. wheat, machines for testing materials, h.n. cox, ground gears, h.f.l. orcutt, instruments for recording minute oscillations, iron ores, a.j. aiers

A Fresnel lens is a type of composite compact lens developed by the French physicist Augustin-Jean Fresnel (1788–1827) for use primarily in lighthouses.  Made from high-quality glass Fresnel lenses were used originally in lighthouses and later for many other applications They were later being used for automobile headlamps, brake, parking, and turn signal lenses, and many other applications. Fresnel lenses used in lighthouses were considered state of the art from the late 19th through to the middle of the 20th century. The subject item is a Fresnel replacement lens used in a ships navigation light. For lighthouses, these lenses have now been replaced with much less expensive and more durable aerobeacons, which themselves often contain plastic Fresnel lenses. The lens design allows the construction of lenses of large aperture and short focal length without the mass and volume of material that would be required by a lens of conventional design. A Fresnel lens can be made much thinner than a comparable conventional lens, in some cases taking the form of a flat sheet. The simpler dioptric (purely refractive) form of the lens was first proposed by Count Buffon and independently reinvented by Fresnel. The catadioptric form of the lens, entirely invented by Fresnel, has outer elements that use total internal reflection as well as refraction; it can capture more oblique light from a light source making the light visible from greater distances.The subject item at this time cannot be associated with a historical event, person or place, provenance is unknown, the item is a replacement for a ships navigation light and it is believed to have been produced before 1950.Fresnel glass replacement lens for a navigation side lamp of a ship. W.T.G (S) and 10x7 S.STR.ENGL.125warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, fresnel lens, maritime light, ships navigation light, augustin-jean fresnel, lighthouse lenses, lighthouse, navigation, warning light

A Fresnel lens is a type of composite compact lens developed by the French physicist Augustin-Jean Fresnel (1788–1827) for use primarily in lighthouses.  Made from high-quality glass Fresnel lenses were used originally in lighthouses and later for many other applications They were later being used for automobile headlamps, brake, parking, and turn signal lenses, and many other applications. Fresnel lenses used in lighthouses were considered state of the art from the late 19th through to the middle of the 20th century. The subject item is a Fresnel replacement lens used in a ships navigation light. For lighthouses, these lenses have now been replaced with much less expensive and more durable aerobeacons, which themselves often contain plastic Fresnel lenses. The lens design allows the construction of lenses of large aperture and short focal length without the mass and volume of material that would be required by a lens of conventional design. A Fresnel lens can be made much thinner than a comparable conventional lens, in some cases taking the form of a flat sheet. The simpler dioptric (purely refractive) form of the lens was first proposed by Count Buffon and independently reinvented by Fresnel. The catadioptric form of the lens, entirely invented by Fresnel, has outer elements that use total internal reflection as well as refraction; it can capture more oblique light from a light source making the light visible from greater distances.The subject item at this time cannot be associated with a historical event, person or place, provenance is unknown, the item is a replacement for a ships navigation light and it is believed to have been produced before 1950.Fresnel glass replacement lens for a navigation lamp of a ship. None warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, fresnel lens, maritime light, ships navigation light, augustin-jean fresnel, lighthouse lenses, lighthouse, navigation, warning light

A Fresnel lens is a type of composite compact lens developed by the French physicist Augustin-Jean Fresnel (1788–1827) for use primarily in lighthouses.  Made from high-quality glass Fresnel lenses were used originally in lighthouses and later for many other applications They were later being used for automobile headlamps, brake, parking, and turn signal lenses, and many other applications. Fresnel lenses used in lighthouses were considered state of the art from the late 19th through to the middle of the 20th century. The subject item is a Fresnel replacement lens used in a ships navigation light. For lighthouses, these lenses have now been replaced with much less expensive and more durable aerobeacons, which themselves often contain plastic Fresnel lenses. The lens design allows the construction of lenses of large aperture and short focal length without the mass and volume of material that would be required by a lens of conventional design. A Fresnel lens can be made much thinner than a comparable conventional lens, in some cases taking the form of a flat sheet. The simpler dioptric (purely refractive) form of the lens was first proposed by Count Buffon and independently reinvented by Fresnel. The catadioptric form of the lens, entirely invented by Fresnel, has outer elements that use total internal reflection as well as refraction; it can capture more oblique light from a light source making the light visible from greater distances.The subject item at this time cannot be associated with a historical event, person or place, provenance is unknown, the item is a replacement for a ships navigation light and it is believed to have been produced before 1950.Fresnel glass replacement lens for a navigation mast headlamp of a ship. Nonewarrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, fresnel lens, maritime light, ships navigation light, augustin-jean fresnel, lighthouse lenses, lighthouse, navigation, warning light

A Fresnel lens is a type of composite compact lens developed by the French physicist Augustin-Jean Fresnel (1788–1827) for use primarily in lighthouses.  Made from high-quality glass Fresnel lenses were used originally in lighthouses and later for many other applications They were later being used for automobile headlamps, brake, parking, and turn signal lenses, and many other applications. Fresnel lenses used in lighthouses were considered state of the art from the late 19th through to the middle of the 20th century. The subject item is a Fresnel replacement lens used in a ships navigation light. For lighthouses, these lenses have now been replaced with much less expensive and more durable aerobeacons, which themselves often contain plastic Fresnel lenses. The lens design allows the construction of lenses of large aperture and short focal length without the mass and volume of material that would be required by a lens of conventional design. A Fresnel lens can be made much thinner than a comparable conventional lens, in some cases taking the form of a flat sheet. The simpler dioptric (purely refractive) form of the lens was first proposed by Count Buffon and independently reinvented by Fresnel. The catadioptric form of the lens, entirely invented by Fresnel, has outer elements that use total internal reflection as well as refraction; it can capture more oblique light from a light source making the light visible from greater distances.The subject item at this time cannot be associated with a historical event, person or place, provenance is unknown, the item is a replacement for a ships navigation light and it is believed to have been produced before 1950.Fresnel round glass masthead replacement lens for a navigation lamp of a ship. Nonewarrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, fresnel lens, maritime light, ships navigation light, augustin-jean fresnel, lighthouse lenses, lighthouse, navigation, warning light

A Fresnel lens is a type of composite compact lens developed by the French physicist Augustin-Jean Fresnel (1788–1827) for use primarily in lighthouses.  Made from high-quality glass Fresnel lenses were used originally in lighthouses and later for many other applications They were later being used for automobile headlamps, brake, parking, and turn signal lenses, and many other applications. Fresnel lenses used in lighthouses were considered state of the art from the late 19th through to the middle of the 20th century. The subject item is a Fresnel replacement lens used in a ships navigation light. For lighthouses, these lenses have now been replaced with much less expensive and more durable aerobeacons, which themselves often contain plastic Fresnel lenses. The lens design allows the construction of lenses of large aperture and short focal length without the mass and volume of material that would be required by a lens of conventional design. A Fresnel lens can be made much thinner than a comparable conventional lens, in some cases taking the form of a flat sheet. The simpler dioptric (purely refractive) form of the lens was first proposed by Count Buffon and independently reinvented by Fresnel. The catadioptric form of the lens, entirely invented by Fresnel, has outer elements that use total internal reflection as well as refraction; it can capture more oblique light from a light source making the light visible from greater distances.The subject item at this time cannot be associated with a historical event, person or place, provenance is unknown, the item is a replacement for a ships navigation light and it is believed to have been produced before 1950.Fresnel glass lens for a ships masthead navigation lamp. Nonewarrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, fresnel lens, maritime light, ships navigation light, augustin-jean fresnel, lighthouse lenses, lighthouse, navigation, warning light

A Fresnel lens is a type of composite compact lens developed by the French physicist Augustin-Jean Fresnel (1788–1827) for use primarily in lighthouses.  Made from high-quality glass Fresnel lenses were used originally in lighthouses and later for many other applications They were later being used for automobile headlamps, brake, parking, and turn signal lenses, and many other applications. Fresnel lenses used in lighthouses were considered state of the art from the late 19th through to the middle of the 20th century. The subject item is a Fresnel replacement lens used in a ships navigation light. For lighthouses, these lenses have now been replaced with much less expensive and more durable aerobeacons, which themselves often contain plastic Fresnel lenses. The lens design allows the construction of lenses of large aperture and short focal length without the mass and volume of material that would be required by a lens of conventional design. A Fresnel lens can be made much thinner than a comparable conventional lens, in some cases taking the form of a flat sheet. The simpler dioptric (purely refractive) form of the lens was first proposed by Count Buffon and independently reinvented by Fresnel. The catadioptric form of the lens, entirely invented by Fresnel, has outer elements that use total internal reflection as well as refraction; it can capture more oblique light from a light source making the light visible from greater distances.The subject item at this time cannot be associated with a historical event, person or place, provenance is unknown, the item is a replacement for a ships navigation light and it is believed to have been produced before 1950.Fresnel glass replacement lens for a navigation side lamp of a ship. Nonewarrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, fresnel lens, maritime light, ships navigation light, augustin-jean fresnel, lighthouse lenses, lighthouse, navigation, warning light

The Ballarat School of Mines Prize Night was held at the Ballarat Town Hall Trench Room from 1960-1971, the Lower Civic Hall 1972, Wendouree Municipal Hall 1973-1975. The prizes awarded were for the work done in the previous year. Guest speakers: 1960 J. Lonsdale, Production Manager, M.B. John & Hattesley Ltd. 1961 E.J. Neale, Manager Ballaarat Gas Company 1962 W.G. Smith, Director, Myer Empirium (Ballarat) Pty Limited and Member of the School of Mines Council 1963 K.C. Webb, Member of the School of Mines Council 1964 A.E. Stohr Vice-President of the School of Mines Council 1965 B.J. Nicholson, Factory Manager, Australian Timken Pty Ltd and Chairman of the Ballarat PRoductivity Group 1966 L.C. Yandell, District Inspector of Schools 1967 J.L. Trevenen, Vice-President, Victorian Automobile Chamber of Commerce 1968 A.C. Eldridge, Assistant Director of Technical Commission of Victoria 1969 W.J. Anderson, General Manager, Bendix Mintex Pty LtdS. Martin-Brown, Managing Director, Firth Cleveland Pty Ltd 1971 S.F. Newman, Manager Director, Engineering Products Pty Ltd, Employer Representative, Metal Trades Division, Apprenticeship Commission 1972 R.J. Dobell, Regional Directorof Education, Ballarat 1973 B.J. McCulloch, Manager, ELectrical Supply, Mid-Western Regions, State Electricty Commission. 1974 W.J.C. North, Managing Director, Australian Timken Pty Ltd 1975 I.D. McCoy, Managing Director, James Selkirk Pty Ltd Four page booklets listing students who won a trade prize at the Ballarat School of Mines. From 1960 to 1971 the awards were held at the Ballarat Town Hall Trench Room, in 1972 it was held at the Lower Civic Hall, and from 1973 to 1975 it was held at the Wendouree Municipal Hall. ballarat school of mines, prize night, ballarat town hall, trench room, lower civic hall, wendouree municipal hall, commercial, awards, dressmaking, woolclassing, turning and fitting, tool and die-making, oxywelding, electric welding, boiler making, panel beeting, motor mechanics, electrical mechanics, arpentry and joinery, plumbing and gasftting, m.b. john, h.e. arblaster, harry arblaster, w.g. smith, a.e. stohr, ken webb

This automotive circular saw was designed to allow trees to be sawn into planks at the site they were felled, rather than requiring them to be carted to a lumber mill first. It was invented by Robert John (Bob) Pyle in 1936 and patented in 1937 (serial number 101975). This picture depicts Clarrie Howell (left) and Bob Pyle (right), standing with the sawbench between them. What was special about Bob’s new invention was that it not only allowed a circular saw to be portable and set up at a logging site, but that it allowed the circular saw to be run using the car motor, and that the saw could be detached, allowing the car to be used for carting or other purposes. This photograph is significant because it shows an early instance of an emerging technology, portable sawmills, and is evidence to the innovations that the people of Beechworth have achieved throughout history, as well Black and White rectangular photograph printed on matte photographic paper. Incription on cream paper stapled to bottom left of photographObverse: On left Clarrie Howell / Right Bob Pyle / with sawbench built by Bob Pyle / Patent 1936 / Rosalie Pyle has the original / [redacted]bob pyle, robert pyle, r j pyle, clarrie howell, howell, pyle, invention, patent, sawmill, saw, sawbench, wood, timber, forestry, automobile, car, 1930s, 1930s beechworth, industry, wooden, convenience, innovation

One of the three projectors used in every trip was this 16mm Portable Projector, which was used taken to about 60 towns and cities around Australia, as Mr Yiannoudes states. This projector is in working condition serviced by Mr Yiannoudes himself regularly. It is an optical and magnetic sound projector, a rare one of its type.Primary historic significance as well as rarity significanceFrom January 1959 and until 1982, “Cosmopolitan Motion Pictures”, owned by Mr Peter Yannoudes (Παναγιώτης Γιαννούδης) and Mr Stathis Raftopoulos (Στάθης Ραφτόπουλος) travelled around Australia to entertain the Greek, Turkish, Indian and Yugoslav speaking population of Australia and provide a significant cinema culture. They travelled as far as Perth in WA, Adelaide in SA, Tasmania, Darwin in Nt, Canberra in ACT and Sydney and NSW. However they found themselves also in places like Berri and Renmark in NSW, where concentrations of migrants lived and thrived during the period. Initially they were travelling by train, carrying all their equipment by hand and placing them in boxes and suitcases. However after 1962 when they acquired their first automobile, travelling became less of a burden, nevertheless cumbersome and laborious. They carried with them initially two portable projectors (second one as a backup) and at times travelled with a third in order to ensure that technology will not be letting them down at the time of film projection. At times the films were projected onto a white sheet of cloth because there was no proper screen to project it on at the venue they were using. One of the three projectors used in every trip was this 16mm Portable Projector, which was used taken to about 60 towns and cities around Australia, as Mr Yiannoudes states. This projector is in working condition serviced by Mr Yiannoudes himself regularly. It is an optical and magnetic sound projector, a rare one of its type. Apart from this projector these items were taken on each trip. -a- 3 projectors in total -b- 2 tripod stands -c- 1 20 feet x 10 feet screen -d- 6 projector lamps and 2 exider lamps for sound -e- 2 extra lamps per film to be shown -f- 1 film rewinder (see rewinder in same collection)Siemensprojector, film, magnetic, sound, optical, language, greek, siemens, german, γιαννούδης, προβολέας, yiannoudes, plutarch

Ephemera from Original Box 313; This is not a catalogued description of the contents but a broad-brush overall description. a. Book with 'Ledger' on cover; has newspaper cuttings re stage and screen on 8 of 94 pages (remaining, mostly blank); b. Gordon & Gotch - Sample Calendar No. 3 1935.( 61 cm x 50 cm) x2; c. Gordon & Gotch - Sample Calendar No. 2 (61 cm x 50 cm) x 2; d. Victorian Act of Parliament No 3041 (amending the Law relating to Public Health, 1919, 176 pages; e. Victorian Act of Parliament -(amending the Sewerage District Acts No 3437, 1925, 5 pages ; f. Scrapbook with cuttings from papers relating to Australia's history, scenery, flora and fauna, Farming, Industry, Rodeo, Horse Racing, Rural, Surf Life Saving, Religion, Federation, Explorers, Gold, Birds, - some loose cuttings in back; g. Land Tax Act, Schedule L 1910 (blank sheet); h. Commission of Public Health - three day tour of Western District (Warrnambool, port Fairy, Colac) from Melbourne; i. Collection of cuttings, envelopes; j. Newspapers - Argus, Advertiser pages late 1930s; (not scanned) k. Collection of newspaper cuttings; l. Collection of Public Health Regulations, 7 parts; m. Act of Parliament, Victoria No. 2632 - Law relating to Amendment of the Constitution; n. Folder containing issues of The Bendigo Church News, 25 parts 1930s-1950s; o. Collection of book lists/catalogues; p. AA (Automobile Association) Members Handbook 1963; q. Collection of varied sheets and pamphlets; r. Articles of Association - Ocean Salt Company; s.. Sydney Symphony Orchestra program 1953; t. Queen Mary's Message to the people, Jan 1936; u. various notices for display of historical items (BHS Collection)ephemera, mementoes

Yiannoudes Family Film Memorabilia It is normally a time consuming and difficult task to accurately assess a collection’s significance to the primary criteria, however in the case of the “Yiannoudes Family Film Memorabilia” we have no hesitation of its high significance about its historic, social, rarity, interpretive, cultural and provenance to Australia, including the country side where most of this collection memorabilia visited. From January 1959 and until 1982, “Cosmopolitan Motion Pictures”, owned by Mr Peter Yannoudes (Παναγιώτης Γιαννούδης) and Mr Stathis Raftopoulos (Στάθης Ραφτόπουλος) travelled around Australia to entertain the Greek, Turkish, Indian and Yugoslav speaking population of Australia and provide a significant cinema culture. They travelled as far as Perth in WA, Adelaide in SA, Tasmania, Darwin in Nt, Canberra in ACT and Sydney and NSW. However they found themselves also in places like Berri and Renmark in NSW, where concentrations of migrants lived and thrived during the period. Initially they were travelling by train, carrying all their equipment by hand and placing them in boxes and suitcases. However after 1962 when they acquired their first automobile, travelling became less of a burden, nevertheless cumbersome and laborious. They carried with them initially two portable projectors (second one as a backup) and at times travelled with a third in order to ensure that technology will not be letting them down at the time of film projection. At times the films were projected onto a white sheet of cloth because there was no proper screen to project it on at the venue they were using. Mr P. Yiannoudes has also published a book in October 2010, titled “Greek Cinema Across Australia – Behind the Scenes”. The book was published in two languages, English and in Greek. Details about the launch can be found on the Diasporic Literature Spot website at this address (in the Greek language) http://diasporic.org/ellinika/biblia/greek-films-in-australia/. His book is devoted to those with whom he co-operated in order to bring for the first time Greek language films into Australia. Their names are: Stathis Raftopoulos, Andreas Papadopoulos, Andreas Katopodis, Theodoros Kanellopoulos, Michael Ioannou, Fotis Hatzipavlides, Kostas Vrahnas, Evaggelos Terpenos, Dionysis Lourantos, Dimitris Georgiou, Vasilis Florias and Jim Gragie. All businessmen with the right entrepreneurial spirit to be the first and to make their mark in the making of cultural Australia. Mr P. Yiannoudes a Cypriot by descent born in the town of Vouni, a village in the area of Lemesos. In Lemesos he learned the first few things about cinema which would help him in all his later life. He migrated to Australia in 1956 has been a prominent member of the Greek & Cypriot Communities in Melbourne for many decades. He has been President of the Cypriot Community, President of Federation of Cypriot Communities in Australia (for 18 years), President of SEKA (for 26 years) and highly regarded member of the Greek-Cypriots Diaspora since he also has been Vice-President of the Global Federation of Cypriots of Diaspora for 18 years. Mr P. Yiannoudes is now working on creating a small museum of these pieces in the back of the Westgarth Theatre with the help of the Plutarch Project and …. In this collection numbering hundreds of items, we will try and capture some of the glory that was the Greek film industry in Australia for 23 years between 1959 and 1982. “Cosmopolitan Motion Pictures” also owned a large number of cinemas in Melbourne, the National Theatre in Richmond, the Westgarth Theatre in Northcote (which is still owned by the Yiannoudes family today), Sun Theatre in Yarraville, Kinema in Albert Park, Empire Theatre in Brunswick, Paramount Theatre in Oakleigh, Globe Theatre in Richmond, Galaxy Theatre in Brunswick and the Cosmopolitan Theatre in Brusnwick. At the same time they were hiring other theatres for film projections. They were the Astor Theatre in St. Kilda, Victoria Theatre in Richmond, Sunshine Theatre in Sunshine. Apart from Melbourne they were using the Pantheon Theatre in Adelaide, the Norwood Town Hall in Adelaide, the Shepparton Town Hall in Shepparton, the Premier Theatre in Perth, the Rivoli Theatre in Berri and the Renmark Theatre in Renmark. The number of films shown around Australia were over 1500 in total whilst about 1218 of them were in the Greek language. Other languages shown were in Turkish (about 150 films), Yugoslavian (about 100 films), English, French, German, Swedish, Dutch language films. “Cosmopolitan Motion Pictures” was the first company to bring Swedish and Dutch films to Australia. They also showed Martial Arts films for the first time in Australia in 1975 at the Galaxy Theatre in Melbourne. However one of the most significant pieces that tell the story with places and dates is the Show Logbook. The Show Logbook has a large number of stories to tell. It is still intact and in fair condition after all these years of travelling around Australia. It is categorised with an alphabetic index on the right by film title. Greek, Indian, Turkish and Yugoslav language film titles adorn its pages alongside the place where they were first shown, the towns and cities they visited and the dates for each one. It is an extremely significant part of history of the settlement of migrants in Australia. This Log Book is of Primary Significance to the "Cosmopolitan Motion Pictures" and the Yiannoudes family film memorabilia collection. It has a Historic, Social, Provenance and Rarity significance for the settlement of migrants in Australia and the entertainment industry.This is the Log Book, manually updated and used by "Cosmopolitan Motion Pictures" for films shown in different parts of AustraliaCollins Stock Records Booklogbook, films, shown, cultural, language, greek, australia, γιαννούδης, κατάσταση, yiannoudes

Great Hall at Montsalvat built 1938-52, designed by Justus Jorgensen Covered under National Estate, National Trust of Australia (Victoria) State Significance, Victorian Heritage and Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p129 At first glance, Montsalvat, the artists’ community at Hillcrest Avenue, Eltham, could belong to another time and place. The French provincial Gothic-style buildings blend picturesquely with the introduced and native trees and farm animals on the five hectare property. But Montsalvat belongs very much to today’s Eltham, having inspired much of its creative activity and style. The use of mud-brick and recycled building materials, for which Eltham is so well-known, was largely popularised by Montsalvat. Montsalvat – unique in Victoria and probably in Australia – is registered by the National Trust and National Estate.1 Montsalvat, named after the castle of the Knights of the Holy Grail, has attracted artists and intellectuals since it was founded in 1934. For years at weekends, artists, lawyers, philosophers, politicians and others, who shared a love for what Montsalvat stood for, gathered for a meal and stimulating discussion. The focus for this gathering of talent was Justus Jörgensen, an eccentric man with vision and charisma. It was Jörgensen’s foresight that saw the creation of Montsalvat, which in 1975 was formed into a trust to benefit the Victorian people. The property was then valued at about three million dollars. It is now visited by thousands of people annually. Born in 1894 and brought up a Catholic, Jörgensen had trained as an architect. He later studied painting at the National Gallery School under artist, Frederick McCubbin, then joined the studio of artist Max Meldrum. In 1924, Jörgensen married medical student Lillian Smith, and with artist friends they travelled to Europe to study the great masters. In London Jörgensen exhibited in several major galleries. One of his still life paintings was included in the book The Art of Still Life by Herbert Furst, which featured 100 of the greatest ever still life paintings.2 In 1929, Jörgensen returned to Melbourne where Lil, now qualified, worked as an anaesthetist at St Vincent’s Hospital. They bought a small house in Brighton and Jörgensen rented a large building in Queen Street for his studio until the Royal Automobile Club of Victoria bought it in 1955. While designing and overseeing the building of a studio for his friend the famous cartoonist Percy Leason, in Lavender Park Road, Jörgensen decided to buy land for a country retreat in Eltham. So the building of Montsalvat began. Jörgensen gathered around a dozen of his friends and students from his Queen Street studio. They set to work, first at weekends then some decided to live permanently on the site. Jörgensen had seen mud-brick buildings in Spain and recognised that Eltham’s clay soil was ideal for mud-bricks and although labour intensive, it was a very cheap way of building. Jörgensen’s students and friends worked under his direction with the help of local tradesmen, including carpenter, Len Jarrold and later stone mason, Horrie Judd. In return Jörgensen would give the students a painting lesson or two. It was the Great Depression when many were out of work. Jörgensen also inspired people to give generously of money and materials. With their help Jörgensen found second-hand materials for building. Friends donated slate for roofing, discarded firebricks were used for flooring and windows and doors and a cast-iron circular staircase came from a wrecker. The students’ day started at 7am with building and domestic chores, shared equally between the sexes. The first building was used by his friends at weekends and then became a home for his wife Lil. It consisted of three rooms and an attic under a high-pitched roof. Jörgensen then built a similar structure with the same high-pitched roof as a more permanent home for his students. The two buildings were joined together with a tower and a studio for Jörgensen. While excavating for the studio a reef of yellow mud-stone was found and then used in construction. The next building was the Great Hall, to be used for dining, exhibitions and meetings and completed in 1958, after a halt during the war. Whelan the Wrecker donated the stone-framed windows from the building that housed the Victorian Insurance Co. in Collins Street, which had been demolished in the 1930s. The swimming pool was donated and cubicles were built for the students with their initials marked in tiles on each doorstep.1 One of Jörgensen’s great abilities was to recognise how to use material which harmonised. He would comb through wreckers’ yards for what he needed. Regarding his buildings as sculptural pieces, his first consideration was for the aesthetic quality of a building and only then for its functionality.2 At Montsalvat, Jörgensen found he was able to put his ideas into practice without compromise and those who worked with him had to conform to his ideas. With the Jörgensens, the colony’s original nucleus consisted of the Skipper family – Mervyn and wife Lena, daughters Helen and Sonia and son Matcham,who was to become an eminent jeweller and sculptor represented in National Gallery collections throughout Australia and in European museums.3 Other members were Arthur Munday, Lesley Sinclair, Helen Lempriere, Ian Robertson, John Smith, George Chalmers, John Busst and Sue Van der Kellan; also Jörgensen’s three sons – Max, Sebastian and Sigmund – and Saskia, Sonia Skipper and Arthur Munday’s daughter. Montsalvat went through some hard times when local gossips spread rumours of sexual shenanigans at Montsalvat. However Montsalvat also had many local supporters – especially amongst the local tradespeople. The colony was certainly unconventional – with Jörgensen’s wife Lil (and son Max) and life-time partner Helen Skipper, (mother of Sebastian and Sigmund) living at Montsalvat. Sonia Skipper says in her biography that the group were ‘very conscious of their responsibilities to each other and a desire to make their relationships work’.4 By World War Two many buildings around the Great Hall were completed. Jörgensen was a pacifist, as were most of his students. Some of the Montsalvat community enlisted while others engaged in essential services like dairy farming and market gardening for the war effort. It was then that Jörgensen constructed farm buildings. After the war many well-known personalities such as Clifton Pugh, landscape gardener Gordon Ford, and builder Alistair Knox, were drawn to Montsalvat. They learnt that building was not a ‘sacred cow’ only for professionals, but that anyone who was willing to get their hands dirty could do it. The post-war shortage of materials also encouraged builders to follow Montsalvat’s lead in reusing materials. When Jörgensen died in 1975, his influence did not – thanks largely to the vigilance of his son, Sigmund, who became its administrator. The weekend dinners have gone, but in 2008 about 14 artists still work at Montsalvat – some living there – including a couple who have been there since its early days. Under Sigmund’s direction Montsalvat further expanded its activities which included festivals, art exhibitions, concerts and weddings. Sigmund completed the Chapel, then the Long Gallery next to the pool, After the barn burnt down, he replaced it in 1999 (the builder was Hamish Knox, Alistair’s son) with a new gallery and entrance and added a restaurant. Sigmund has been careful that any new building blends in with the character of Montsalvat. In 2006 Montsalvat was restructured for its continued financial viability and with the help of Arts Victoria a new executive officer was appointed. A representative board from the wider community was established, which includes members from the former Montsalvat Trust including Sigmund Jörgensen – who is now the heritage and arts adviser to the new company Montsalvat Ltd.5 Today, visiting Montsalvat one still sees artists, students and visitors enjoying the unique and beautiful surroundings.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, eltham, great hall, montsalvat

This is a scene of Cape Conran, East Gippsland taken by Bairnsdale photographer, Stanley Vogt. It was probably one of a collection of commercial post cards available to tourists or East Gippsland residents to send to friends or relatives. Cameras in the early 20th century were not a common family possession and a postcard was a common souvenir and way of sending a short message.Between 1901 and 1914 a wide range of subjects were recorded by often anonymous artists and photographers and published by everyone from major companies to enthusiastic individuals. As a result, postcards provide a comprehensive resource for anyone interested in how our forebears lived, laughed and loved one hundred years ago. They are very interesting records of places gone, architecture gone and people gone, showing social history such as dress, or early automobiles. Postcards form a vital part of social and historical records for researchers. A black / white postcard photograph of a scenic view of the beach and ocean at Cape Conran in Far East Victoria.on front - "Stanley Voigt - Bairnsdale - Cape Conran"postcard-cape-conran

This is a scene of Cape Conran, East Gippsland. It appears to have been a postcard which was trimmed. Cameras in the early 20th century were not a common family possession and a postcard was a common souvenir and way of sending a short message.Early photographs are very interesting records of places gone, architecture gone and people gone, showing social history such as dress, or early automobiles. This scene is of a popular tourist destination in East Gippsland.A black / white photograph of a rough ocean over rocks at Cape Conran in Far East Gippsland. It looks as if the photograph has been trimmed.cape-conran

This photograph has been set as Christmas postcard. It could be the front page of a greeting card.Postcards and greeting form a vital part of social and historical records for researchers. They are very interesting records of places gone, architecture gone and people gone, showing social history such as dress, or early automobiles. This one record an earlier means of transport in east Gippsland.A small black / white oval shaped photograph set in a cream card with green writing at the bottom. The photo is of two horse teams and buggies crossing a large sandy beach.on front just below photograph - CROSSING LAKE TYERS SANDS Beneath that in cursive script is " This little view is sent from here To wish you joy and Christmas cheer And say you are remembered still with kindly thoughts and right goodwill"lake-tyers-east-gippsland greeting-card