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Monash University Museum of Computing History
Ferranti Sirius mainframe computer, 1961
The Ferranti Sirius is an electronic second-generation transistor computer and is one of three remaining examples of this machine left in the world. It was an important addition to the computing facilities at Monash University in the early 1960s and provided access for computer programming and research for many early computer professionals, academics and teachers. The Ferranti Sirius computer was built in a period of rapid growth in computing technology. The first stored program computers appeared in the late 1940s and used individual designs with valve technology. By the mid-1950s valve technology was replaced by transistors and the first mass produced commercial computers became available. The Ferranti Sirius was announced in 1959 and offered a “small” academic computer. It was designed and built by the English company Ferranti Ltd and sold through a local office of the company in Melbourne. The Sirius was manufactured at the Ferranti Ltd.’s West Gorton, England factory from 1959 to 1963 and, in all, the company produced probably 22 installations although only 16 were actually recorded as sold; this included one at Ferranti’s Bureau in London and one at Ferranti’s Melbourne Bureau. Only 7 were exported and 4 of these 7 were located in Melbourne, Australia. All four were associated with computing at Monash University – the Sirius in the MMoCH collection was purchased by Monash University in 1962, a smaller Ferranti Sirius was used on the Caulfield campus (prior to amalgamation with Monash University) from 1963, the Ferranti company had its own Ferranti Sirius initially temporarily installed at Clayton campus in 1962 and then placed in their office in Queens Road, Melbourne. A fourth computer was purchased by ICIANZ (now Orica) in 1962 and was transferred to Clayton campus in 1967. Only two of these Melbourne examples have survived; one in the MMoCH collection and one at Museums Victoria. There is an example of the Ferranti Sirius in the Science Museum Group collection in the UK as well. The Ferranti Sirius in the MMoCH collection was the first computer purchased by Monash University and it was shipped to Australia to be installed by November 1962. The University had a similar model computer on loan from Ferranti Ltd during the first part of the year and it was returned to the office of the company in Queens Road, Melbourne once the University’s own machine was installed. The computer was placed on site at Clayton campus, Monash University. The computer operated from 1962 until 1972 when it was officially decommissioned. The Ferranti Sirius was sold to Mr Paul Stewart in late 1974 and removed from Monash University. Mr Stewart later donated the computer back to the University in 1988 and it was transferred to the collection of the Monash Museum of Computing History after 2001. The Ferranti Sirius is an electronic second-generation transistor computer and is one of three remaining examples of this machine left in the world. It was an important addition to the computing facilities at Monash University in the early 1960s and provided access for computer programming and research for many early computer professionals, academics and teachers. The Ferranti Sirius is of scientific (technological) significance as one of the early transistor digital computers that transitioned computing from first-generation valve computers to second generation commercial installations. This example of the Sirius is of historical significance in its role as a part of the Computer Centre, Clayton campus, Monash University which provided computing facilities in Melbourne in the early 1960s when there were few installations available for academic, administrative and commercial users. Staff and students were able to undertake investigative research and learn programming techniques. The Computer Centre encouraged the use of the computer across all disciplines and this provided the base to establish computer science as a subject offering and, later, a new department in the University. This growth in computer education eventually culminated in the establishment of the Faculty of Information Technology, Monash University. The Ferranti Sirius in the collection at Monash Museum of Computing History has a main unit with a CPU and memory combined with input/output equipment and one extra cabinet of memory. The Central Processing Unit is a floor-standing unit which contains the computer circuits, power supplies and has a decimal digit display panel and a normal clock. A moveable control panel is placed in front of the Unit (Currently set on a recreated desk/filing cabinet support in the display). The Sirius base unit uses acoustic delay line memory with 1000 word store. An additional 3000 word memory cabinet is set adjacent to the CPU and can be connected to increase the memory. The computer is supported by a range of input/output devices. There is a Ferranti Paper tape reader, located on desk in front of CPU. Red label on front “Ferranti tape reader. Type TR 5. Serial No. 477”. Adjacent to the CPU is a set of Simplified tape editing equipment in three pieces which includes a (1) Table unit with switches on front face. Metal tag on reverse reads “Creed & Co. Model No. S4060. Serial No. 1457. Original Customers Marking GRP7 V706”. The table has a numbered internal tag “Table Serial No. 198579. (2)Creed teletype set on table unit. Metal tag on reverse “Creed & Co. Model No. 75RPR K4M4. Serial No. 5897 Made in England”. (3)Creed paper tape reader set on table unit. This set of equipment could read paper tape and print it, or copy paper tape while allowing it to be edited, or allow a programmer or data preparation person to type and punch a new program or data. It has no electrical connection to the computer. Paper tapes were usually torn off and carried across to the computer. There is also another table unit with switches on front face and changeable setting switch on front right side which holds a Ferranti Westrex paper tape punch set. Label on reverse “Teletype Code BRPE11” This was the Computer’s only output device. BRPE-11 is a teletype model number. -
National Communication Museum
Equipment - Ericofon, Ericsson, 1950s
The Ericofon was the first commercially successful telephone which incorporated both handle and dial within a single unit. Manufactured by the Swedish company Ericsson, and available for lease from the Postmaster-General’s Department, the streamlined design has been praised for anticipating the cordless phone, and later mobile phone, by several decades. The ‘cobra’ design was formulated in the 1940s and manufactured in the 1950s; Australian cases were likely made in the L M Ericsson Broadmeadows factory. Although new thermoplastic technology allowed for a bolder aesthetic than traditional black Bakelite telephones, Ericofon sales accounted for only 4% of the market and it never enjoyed popularity with Australian subscribers. The design did, however, spark a conceptual shift whereby the telephone “was seen more as a consumer product than merely an extension of telephony” (Ericsson).Clear plastic telephone casing inside which are coloured electrical wires. Telephone has a broad base that contains the dial, mouthpiece and cord with cream plastic coated wall plug attached at rear. Handle tapers in a curve to a stylised squared earpiece. Dial underneath is a rotary dial with red disconnection button in the centre. telephone, design, domestic, ericsson, industrial design -
Tatura Irrigation & Wartime Camps Museum
Plate (commercial), Bolgers Tatura Hotel china ware, Grindley's Hotel Ware - England
Crockery for hotel.Round white commercial ware plate with stamp "Criterion Hotel Tatura" with the licencee's name in the centre, in green "Bolgers"On back, a crown with the words "Grindly Hotel Ware England - vitrified. Loptus Moran - Melbourne (in green). -
Nillumbik Shire Council
Painting: Penelope AITKEN (b.1967 Melb. AUS), Penelope Aitken, Mapping Mass & Void 10, 2008
Penelope Aitken lives and works in Melbourne, Australia. She makes paintings and installations about relationships: between people, between things and between people and things. Recurring subjects include friendship, genealogy, romantic liaisons, and cross-cultural exchange as well as gardening, craft and landscape design. 'I am interested in the social, psychological and aesthetic motives behind organisation, belonging and displacement and I often make work that investigates such arrangements.' She has held regular solo exhibitions since 1995 and has been represented in group exhibitions since 1989. These have included shows in public and commercial galleries, artist run spaces, outdoor projects and festivals in Melbourne, Sydney, Perth, Brisbane, Bundaberg, Kuala Lumpur, Taipei, Tokyo and Famagusta, Northern Cyprus. Aitken has previously worked at the Australian Centre for Contemporary Art and at Asialink at the University of Melbourne. From 2006 - 2009 she was a board member of the Melbourne artist run gallery, West Space and she has also curated and coordinated numerous exhibitions and written and edited catalogues, articles and essays. She holds a Bachelor of Arts and a Bachelor of Education (Visual Arts) both from The University of Melbourne and completed her Masters of Fine Art at the Victorian College of the Arts in 2004. In 1997 Aitken was selected to be a studio artist for two years at Gertrude Contemporary Art Spaces, Melbourne and in 2000 she undertook an Australia Council Studio at the Taipei National University of the Arts, Taiwan. More recently she spent two months in 2007 at the Laughing Waters Residency, Birrarung, in Eltham, Victoria. There she began her current interest in the rocks used in the landscape designs of Gordon Ford. Paintings of Ford's rocks made since 2007 as well as glacial erratics, meteors, and other natural and displaced rocks were exhibited in March 2011 at the Light Factory Gallery in Eltham in a show called My History of here, and Second Nature, one work from this exhibition, was awarded first prize at Eltham Masterworks 2011. Other work made about rocks in nature and culture include: the project, A dark archive, as well as in two installations: You seem so settled for one that doesn't belong held at West Space in 2009 and Gathering these things to remind me of home shown in 2010 at the Bundaberg Regional Art Gallery, Queensland. In July and August 2007 Aitken undertook an arts recidency at Birrarung, a house and garden designed by Gordon Ford and managed as the Laughing Waters Artist in Residence Program by the Shire of Nillumbik Victoria. The rocks depicted in the painting 'Mapping Mass & Void 10' are all taken from the garden at Birrarung. Aitken has made reference to those rocks and the way in which Ford thought of the rocks as individuals that need to be handled and placed with consideration to show off their best aspects.oil and acrylic on linen ek prac 2015 -
Latrobe Regional Gallery
Work on paper, FRASER, Sue, Travellin' light, 1995
PrintSigned and dated lower right corner beneath printed image "Sue Frazer 95" Edition 14/30, lower left corner under printed image Titled "Travellin' Light" in centre below printed image -
Latrobe Regional Gallery
Work on paper, SHIMMEN, Heather b. 1957, The ubiquitous balance, 2000
Linocut print with fabric overlaySigned and dated lower right corner under printed image "Shimmen 2000" Edition 29/40, lower left corner under printed image Titled "the ubiquitous balance" centred under printed image -
Latrobe Regional Gallery
Work on paper - Print, PEART, John b. 1945, d. 2013, Thornhill Blue, 1973
Lithographic printSigned and dated in lower right along bottom edge within printed image "John Peart 73" Titled "THORNHILL BLUE" centre along bottom edge of print Edition 10/100, inscribed lower left in printed image -
Brighton Historical Society
Coat, Dustcoat, c.1948
Dust coat worn by Mr Frederick Alister Jennings when he managed a family grocery store circa 1948 at 510 Point Nepean Road, East Brighton. Frederick was born at Nagambie, Victoria in 1909 and died in Brighton in 1979. He was the son of Hugh Edwin Jennings and Alice Constance Warren. He married Margaret Jean Hughes in 1934 and served in the Second World War. He lived at 1 Valda Grove Brighton. Frederick was a commercial traveller as well as his time spent managing the store in Point Nepean Road. It is believed this coat dates from his time at the store c1948 - 1955. The store was owned for many years by his father-in-law W. G. Hughes and was one of a group of shops near the corner of Centre Road. In 1944-45 the group of shops included Fletcher’s fuel merchants, a haberdasher, butcher, fruiterer, grocer, Brighton East post office, a ladies’ hairdresser and Hughes’ grocer. In 1950 Hughes’ grocery store was between a service station and the Commercial Bank on what had been renamed Nepean Highway. The business was sold to G. S. Maynard, grocer, sometime before 1960.Unlined dustcoat of beige cotton. Fastens centre front with three brown plastic buttons. Two large patch pockets. Separate cloth belt with metal buckle. Signs of wear and mending. .1 - coat .2 -beltGarment label reads: APEX (RLG.) Dust Coat DEPT. MYER STORE for MEN. MELBOURNE & ADELAIDEdustcoat, occupational dress, grocer, hughes grocery store, brighton, frederick alister jennings -
Brighton Historical Society
Dress and vest, Dress and tunic vest, circa late 1960s
This dress belonged to Nola Jennings, a long-time Brighton resident. Bindi of Melbourne was the youth label of Australian commercial fashion house Len Vogue.Long-sleeved crimplene dress (.1) with white bodice and short purple skirt. High collar, cuffs and waist have a purple and yellow checkerboard-patterned trim. Four self-covered buttons down the centre front of skirt. Zip at back. Long purple tunic vest (.2) worn over the top.Label in both dress and vest, white with black text: "Fashioned for / Bindi / of MELBOURNE" Two smaller labels at bottom: "SIZE 10 / TO FIT / BUST 32" / HIP 34"" and "CRIMP TERY. / C 145 4".nola jennings, 1960s, bindi of melbourne, len vogue -
Latrobe Regional Gallery
Painting, FORBES, Rodney, Cup Day, 1992
Oil on canvasVerso in charcoal u. centre "RODNEY FORBES / CUP DAY 1992 / OIL 111.6 X 83.7 CM " (in a square box)backyard, bbq, police, sunbather, dog -
Latrobe Regional Gallery
Print, ROBINSON, Brian. Born 1973, Waiben, Queensland, Australia, Ulmai, 2011
Linocut print. Printer's Proof'P/P' in bottom left below printed section, 'ULMAI' in centre, signed along bottom right edge of paper.culture, pattern, linocut -
Latrobe Regional Gallery
Print, Dawn Raid Strategy, 2011
Linocut print on paper. Printer's Proof'P/P' in bottom left under printed section, 'DAWN RAID STRATEGY' in centre under printed area, signed on bottom right edge.linocut, line, pattern -
Latrobe Regional Gallery
Print, ROBINSON, Brian. Born 1973, Waiben, Queensland, Australia, Iian Mask II, 2011
Linocut print on paper. Printer's Proof.'P/P' below printed section bottom left, 'Iian Mask II' under printed section centre, signed along bottom right edge of print. linocut, symbolism, pattern, line -
Latrobe Regional Gallery
Print, ROBINSON, Brian. Born 1973, Waiben, Queensland, Australia, Hunting Dhangal, 2011
Linocut print on paper. Printer's Proof.'P/P' bottom left under printed area, 'HUNTING DHANGAL' centred under print, signed along bottom right edge.linocut, symbolism, pattern, cultural reference, astronomical, hunting -
Latrobe Regional Gallery
Print, ROBINSON, Brian. Born 1973, Waiben, Queensland, Australia, Marks of a printmaker (Body Parts I), 2011
Linocut print on paper. Printer's Proof.'P/P' in bottom left under printed section, 'MARKS OF A PRINTMAKER (BODY PARTS I) centred under printed area, signed along bottom right edge. linocut, line, cultural reference, pattern, hands, making -
Latrobe Regional Gallery
Print, ROBINSON, Brian. Born 1973, Waiben, Queensland, Australia, Ilan Regatta, 2011
Linocut print on paper. Printer's Proof.'P/P' bottom left under printed section, 'ILAN REGATTA' centred under printed area, signed along bottom right edge.linocut, line, pattern, cultural reference, symbolism, boats -
Latrobe Regional Gallery
Print, ROBINSON, Brian. Born 1973, Waiben, Queensland, Australia, Handline Ngurupai Wharf, 2011
Linocut print on paper. Printer's Proof.'P/P' under bottom left section of printed area, 'HANDLINE NGURUPAI WHARF' centred under printed section, signed along bottom right edge of print area.linocut, cultural reference, pattern, figure, fishing -
Latrobe Regional Gallery
Print, ROBINSON, Brian. Born 1973, Waiben, Queensland, Australia, Goi Goi, 2011
Linocut print on paper. Printer's Proof.'P/P' under bottom left of printed area, 'GOI GOI' centred under printed section, signed on bottom right edge of print area. linocut, pattern, cultural reference -
Latrobe Regional Gallery
Print, ROBINSON, Brian. Born 1973, Waiben, Queensland, Australia, …And they flew from the Airfield at Ngurupai II, 2011
Linocut print on paper. Printer's Proof.'P/P' bottom left under printed area, '...AND THEY FLEW FROM THE AIRFIELD AT NGURUPAI II' centred under printed area, signed along bottom right edge of printlinocut, cultural reference, pattern, symbolism, aircraft -
Latrobe Regional Gallery
Print, SAM, Joel. born 1977, Waiben, Queensland, Australia, Bu Bu (Tides), 2011
Linocut print on paper. Printer's Proof.'P/P' bottom left under printed image, 'Bu bu (tides)' centred under printed area, signed and dated in bottom right corner of image. cultural reference, linocut, cultural symbolism, patterns, waves, tides -
Latrobe Regional Gallery
Print, SAM, Joel. born 1977, Waiben, Queensland, Australia, Marrkai gub (cyclone Anthony), 2011
Linocut print on paper. Printer's Proof.'P/P' bottom left of printed image, 'Marrkai gub (cyclone Anthony)' centred under image, signed and dated in bottom right of printed area.linocut, cyclone, patterns, symbolism, cultural reference -
Latrobe Regional Gallery
Print, The Mulloway Math of It, 1992
Screenprint on paper.'13/20' bottom left, 'THE MULLOWAY MATH OF IT' bottom centred, signed 'MCDONALD' bottom right corner. screenprint, power station -
Latrobe Regional Gallery
Print, HAMM, Treahna b. 1965, Melbourne, Drought Spirit, 1995
Hand coloured etching on paperEdition 39/50 - bottom left corner Titled 'Drought Spirit' on centre bottom of print Signed and dated 'Treahna Hamm '95' - bottom right corner.linework, drought, etching, spiritual, land -
Latrobe Regional Gallery
Print, HAMM, Treahna b. 1965, Melbourne, Paradise Overkill, 1995
Hand coloured etching Edition 26/50 in lower left corner. Titled 'Paradise Overkill' on bottom centre. Signed and dated 'Treahna Hamm '95' lower right corner.etching, land, spiritual, environment, connection to land, disruption -
Latrobe Regional Gallery
Drawing, BELLANY, John b. 1942, Port Seton d. 2013, Owl Family, 1983
Charcoal on paperTitled 'OWL FAMILY' centre bottom of drawing. Signed and dated 'Bellany '83' in bottom right corner of drawing. -
Latrobe Regional Gallery
Drawing, BELL, George b.1878 Kew, Victoria d. 1966 Toorak, Victoria, Untitled, Not dated
Ink on paperSigned 'George Bell' centred along right edge of drawing.life drawing, figurative drawing, study, body, pose, human form -
Latrobe Regional Gallery
Painting, CENTRE, Daryl, The Woolies, 2006
Watercolour on paperSigned and dated 'DCentre'06' lower right corner of painting.flock, sheep, agriculture -
Latrobe Regional Gallery
Print, JACKLIN, Bill b. 1943 England, Two Chimneys, 1987
LithographSigned and dated 'Jacklin 87' bottom right corner under printed image. Titled 'Two Chimneys' centred under bottom of printed image. Edition 21/25, bottom left corner under printed image. -
Latrobe Regional Gallery
Print, SIBLEY, Andrew b. 1933 London, England d. 2015 Melbourne, Australia, Paper Guru, 1985
LithographSigned 'Sibley '85' in lower right corner under printed image. Titled "PAPER GURU" centred bottom under printed image. Edition A/P, lower left corner under printed image. -
Latrobe Regional Gallery
Print, SENBERGS, Jan b.1939 Riga, Latvia. Arrived Australia 1950, Lithograph, 1985
LithographSigned and dated 'J. Senbergs. '85.' lower right corner under printed image. Titled 'Looking at Jesus Houses in Italy' centre bottom under print. Edition CT/P in lower left corner under printed image.