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matching working tools
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Bendigo Military Museum
photograph - Fortuna - 1st Year of Army Occupation in Bendigo, 1942
This is a set of 17 photographs taken during the first year of Army occupation at Fortuna, Bendigo in 1942. The photos provide an insight into the preparatory work performed on the Fortuna Villa and surrounding buildings, by the Working Party 5th Army Troop and Ordnance Training Depot, before its occupation by personnel from LHQ Cartographic Company, Royal Australian Survey Corps. The annotation on the back of Photos .9P and .10P is misspelt. The correct spelling is ‘Nell Gwynne’. The poppet head of the Central Nell Gwynne mine is still an iconic landmark in Bendigo, lying just down the road from the poppet head lookout at Victoria Hill. The Central Nell Gwynne was the premier mine of Bendigo's 1930s mining revival and is of high historical value, due to the extensive and relatively intact features which remain at the site. The annotation on the back of Photo .17P is incorrect. The location of HQ 5th Army Troop was ‘Reynard St, Coburg.’ By late 1941 as Japan extended its control throughout Indo-China, resolving the accommodation problem of AHQ Cartographic Company located in Melbourne became more urgent. The steady Japanese advance made the bombing of Melbourne no longer a remote possibility, and in accordance with a general policy of dispersion, the Deputy Chief of the General Staff, Major General Sidney Rowell instructed Major William Sarll, in the interests of security of plant and to provide against possible damage of air attack, to investigate suitable safer inland accommodation for AHQ Cartographic Company. Major Sarll inspected many properties before finding one that would meet the requirements of the Cartographic Company. In late 1941, he came to inspect Fortuna, a rambling old mansion with about fifteen acres of ground in central Bendigo. Initially there was no intention to occupy the site beyond the end of the war, although Major Sarll's report to the Director of Survey noted many advantages in moving the Company to Bendigo. Major General Rowell quickly approved the selection of Fortuna before other authorities, which were investigating the evacuation of school children, could get in ahead of the Cartographic Company. On 23 March 1942, the Commonwealth of Australia, under the provisions of the National Security Act of 1939, took possession of the house, the old battery buildings and the fifteen acres of grounds. Under Warrant Officer J. Trist’s direction, over fifty Parks and Works tradesmen completed building works necessary to accommodate the Survey Corps’ military, map making and printing requirements. The building program was still under way when the first officer, Lieutenant Ralph Westgarth, arrived in May 1942 with the advance party which received and positioned all equipment as it came up from Melbourne in semi-trailers. Once the equipment was installed the rest of the Cartographic Company completed its shift to Bendigo by 11th June 1942. The first year of the Survey Corps’ occupation of Fortuna is covered in more detail with additional historic photographs, in pages 17-22 of Valerie Lovejoy’s book 'Mapmakers of Fortuna – A history of the Army Survey Regiment’ ISBN: 0-646-42120-4.This is a set of 17 photographs taken during the first year of Army Occupation at Fortuna, Bendigo in 1942. The black and white photographs were printed on photographic paper and are part of the Army Survey Regiment’s Collection. The photographs were scanned at 300 dpi. .1) - Photo, black & white, 1942. Bendigo Parks and Works tradesmen at Fortuna. L to R: Cliff Day, Ernie Arnold, Norm? .2) - Photo, black & white, 1942. “Don” - possibly SGT Don Sutcliffe. Fortuna, Bendigo. .3) - Photo, black & white, 1942. Parks and Works tradesmen in garden at Fortuna, Bendigo. L to R: Fred & Ernie. .4) - Photo, black & white, 1942. Benny Jack Williams at Fortuna, Bendigo. Accommodation tents were erected above the lake, which later became the parade ground. .5) - Photo, black & white, 1942. Working dress - Giggle suits. Parks and Works tradesmen at Fortuna, Bendigo. L to R: Cliff and Harry on big roof. .6) - Photo, black & white, 1942. Parks and Works tradesmen at Fortuna, Bendigo. Ted on big roof. .7) - Photo, black & white, 1942. Gold crusher battery just behind Fortuna. .8) - Photo, black & white, 1942. Scene of Bendigo from Fortuna. .9) - Photo, black & white, 1942. Nell Gwynne Mine from mullock heap at Victoria Hill near Fortuna, Bendigo. .10) - Photo, black & white, 1942. Nell Gwynne Mine and crusher near Fortuna, Bendigo. .11) - Photo, black & white, 1942. Sluicing for gold at Eaglehawk. .12) - Photo, black & white, 1942. Fortuna, Bendigo taken from the far side of tennis courts. .13) - Photo, black & white, 1942. Fortuna, Bendigo & its reflection from across the lake. .14) - Photo, black & white, 1942. Fortuna, Bendigo from the fishpond. .15) - Photo, black & white, 1942. Fortuna, Bendigo. .16) - Photo, black & white, 1942. First Fortuna Football Team at unknown location. L to R: 5th Bob Wright, 11th SGT Don Sutcliffe. .17) - Photo, black & white, 1942. Working Party from 5th Army Troop and Ordnance Training Depot at Fortuna, Bendigo.Some personnel are identified. Annotated with date within photos. .1) – Annotated on back ‘Cliff, Ernie, Norm, Dec ‘42. Cliff Day - dairy farmer, plasterers’ labourer. Ernie Arnold – hard plasterer. Norm? - QM Store for tools etc. QM Store was the Stables.’ .2) - Annotated on back ‘Don. Fortuna 1942’ .3) - Annotated on back ‘Fred & Ernie. Dec 1942. Carpenters. Note the state of the gardens.’ .4) - Annotated on back ‘Benny Jack Williams Fortuna Bendigo. Tents were erected where present day parade ground is above the lake.’ .5) - Annotated on back ‘Working dress - Giggle suits. June 42. Cliff and Harry on big roof. This photo was taken as the ventilating ridge was being installed on the building housing the printing machines. The machines were installed later by civilian labour when building was complete.’ .6) - Annotated on back ‘Ted on big roof Fortuna Bendigo.’ .7) - Annotated on back ‘Gold crusher battery – Bendigo for slay heap – 1942. 12 stamp battery. Just behind Fortuna. Was working at night when the “Army” came to Bendigo. Later removed to “Coolgardie - WA. Present site of Southern Cross TV.’ .8) - Annotated on back ‘Scene of Bendigo from Fortuna. June 1942.’ .9) - Annotated on back ‘Nell Gwyne Mine from mullock heap (Victoria Hill) Sept 1942.’ .10) - Annotated on back ‘Nell Gwyne Mine and crusher September 1942.’ .11) - Annotated on back ‘Sluicing for gold at Eaglehawk. August 1942.’ .12) - Annotated on back ‘Fortuna Bendigo 1942. Taken from far side of tennis courts.’ .13) - Annotated on back ‘ “Fortuna” across the lake & reflection.’ .14) - Annotated on back ‘Fortuna from fishpond June 1942.’ .15) - Annotated on back ‘Fortuna Dec 1942.’ .16) - Annotated on front ‘X’ x2. Annotated on back First Fortuna Football Team 1942‘Bob Wright’, ‘SGT Don Sutcliffe’. .17) - Annotated ‘Working Party at Fortuna before one of the drafts’, Working Party 5th Army Troop and Ordnance Training Depot Showgrounds, now the Sportsground Bendigo’, ‘HQ of 5th Army Troop was Reynards Rd, Coburg.’royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr -
Upper Yarra Museum
Wooden Marking Gauge
Marking Gauges have been around for centuries in wood working shops, and is used to mark parallel lines on wood, either along the grain or across the grain, across the grain leaves a more jaggard line.This simple tool allowed Crafts or Trades people to consistently and accurately make parallel lines.Wooden Marker Part 1 - Marker Part 2 - Wooden screw Part 3 - Moving .....wood worker, carpenter, cabinet maker, gauge, mark, joints, mortice & tennon -
Upper Yarra Museum
Mallet, Wooden
A wooden Mallet could be found in most homes, and nearly all tradesmans tool box or bag, its most common use was working with wooden handled wood Chisels, because they did not damage the end of the chisel like a steel headed hammer,also they were used to fit joints of wood together as they would not damage the timber like steel hammers......Wooden mallets were also used by stone masons back to the time of the pyramids, but they were usually shaped differentlyWooden Mallet A handmade wooden mallet with a handle with a rectangular head. Carved ET on sidewood, mallet, tradesman, carpenter, cabinet maker -
Orbost & District Historical Society
black and white photographs, 3281.1 : September 1987
3281.1 is a photograph of Terry Martin. "Terry Martin travelled to Melbourne to Melbourne to display his extensive collection of axes and to demonstrate the art of broadaxe cutting. The axe Terry is holding is over 200 years old and is believed to have been used by ship builders in their trade. Terry makes his own axe handles from district timber." (Snowy River Mail 23 September 1987) 3281.2 is of Erasmo Giove. who came to Australia with his wife, Mina. They eventually settled in Orbost where Erasmo worked as a sleeper cutter withn his wife working alongside him. The Gioves lived with their four children, Tina, Rocco, Benodino and Graziela, in Forest Road, Orbost,These photographs are associated with the timber and sleeper-cutting industry in the Orbost Region. Timber sleepers were superceded by concrete sleepers in c. 1970s. Orbost has historically been based on the timber industry, but that industry has declined considerably over the last 20 years..The number of locals involved in the timber industry has declined and many of the mills have closed. This item reflects a time when that industry was a significant contributor to the economy of the district.3281.1 is of a man standing holding a long handled axe. 3281.2 is of a man holding a cross cut saw and holding in the other hand a framed photograph of a swing saw.woodcutting-tools axe saw-cross-cut saw-swing timber-orbost sleeper-cutting giove-erasmo martin-terry -
Orbost & District Historical Society
black and white photograph, C1914
This photograph shows men working in the gravel pit at Newmerella just outside Orbost. Not long after this photograph was taken an accidental explosion killed three workers. In the newspaper, The Hobart Mercury on Saturday March 1914, There was this report: "EXPLOSION OF BLASTING CHARGE. THREE MEN KILLED. MELBOURNE, March 13 A fatal accident occurred this after- noon on the railway construction works at Hagen's Cutting, about two miles from Orbost, three men being killed. The victims were John Carroll, contractor, his son, Peter Carroll, and John Sullivan, a navvy. The gang had just finished work, and the three stayed behind to draw a blasting charge, which had missed fire yesterday. J. Carroll was using a pick, and it is presumed that the tool struck a percussion cap, and fired the charge. He and Sullivan were killed instantly, Carroll being literally blown to pieces. Fragments of his body and garments were recovered from the surrounding bush, and the main portion of the trunk, with leg attached, was hurled a distance of 200 yards. Peter Car roll was terribly- injured, and he died before medical aid arrived. ' This is a pictorial record of construction workers associated with the Orbost - Bairnsdale railway. This item is associated with the history of the Orbost-Bairnsdale railway line and therefore reflects the role that the rail line played in the social and economic history of Orbost. The Bairnsdale-Orbost railway was opened in 1916 to serve the agricultural and timber industry. Because of the decline in traffic and heavy operating costs, the line was finally closed in August, 1987. A black / white photograph of a large group of men with horses and wagons. Most are holding tools - picks, spades and shovels. Some of the wagons are loaded with soil.railway-construction east-gippsland-railway orbost-railway quarry-gravel-newmerella -
Paynesville Maritime Museum
Toolbox
Typical of the small toolbox that boat-builders took to the confined areas when working on boatsWooden toolbox containing boat building tools -
Warrnambool and District Historical Society Inc.
Tools, Hand Working Tool, Late 19th century/early 20th century
... Hand Working Tool... Hand Working Tool This is a small tool with a wooden handle ...This tool belonged to Ernest Brighton Phillips, a Warrnambool furniture maker. Ernest Phillips (1875-1924) was born in Warrnambool and learnt his carpentry trade at the Warrnambool Box Works. In the late 1890s Phillips established a furniture store at the corner of Liebig and Koroit streets and by the early 20th century he had the largest furniture warehouse and factory in Victoria outside of Melbourne. His products were sold all over Australia. Phillips and his family lived at ‘Heatherlie’ in Koroit Street. Today this property is the site of the residential complex for senior citizens known as ‘Heatherlie’. This tool is of considerable interest as it belonged to Ernest Phillips, a prominent businessman in Warrnambool at the end of the 19th century and the beginning of the 20th century. It is also of interest as a good example of a tool that was in use 100 years ago. This is a small tool with a wooden handle. The top part of the handle that screws in is missing. The tool is attached to the handle by a brass ring and a screw and the tool itself is a thin nail-like piece of metal with a small metal piece at the end in the shape of a star with six points. This end piece gouges out a hole or a pattern in wood or other hard material. The tool belonged to Ernest Phillips and his name is stamped on the handle. Three oblong-shaped metal nails were also with this tool but were not necessarily used with it. ‘E. Phillips’ernest phillips, history of warrnambool -
Warrnambool and District Historical Society Inc.
Booklet, Ron Best, Purnim Mechanics Institute Hall 1901, 2014
Brief history of Purnim Mechanics Institute HallThis is a paper back book of 24 pages. It has a white back cover and a grey/white front cover with a coloured photograph of the second Purnim Hall. The printed material is black on a white background. non-fictionBrief history of Purnim Mechanics Institute Hallpurnim, mechanics’ institutes, warrnambool -
Tatura Irrigation & Wartime Camps Museum
Plane - Wooden, 1940's
Made by internee at Camp 3 Tatura. Used there as a wood working handtoolHandmade varnished, polished wooden plane with curved, turned handle. Metal washers support centre metal barHaeringplane, wood, haering, m, camp 3, tatura, ww2 camp 3, trades, tools -
Tatura Irrigation & Wartime Camps Museum
Tool - Wood Plane, 1940's
Made by internees at camp 3, using wood sourced from under the barracks ie : stumps. Wood Plane, for wood working. Has a handle at the front for pushing it through wood. Also has metal blade kazenwadel, blacksmith, wood, tools camp 3, metal, woodworking -
Tatura Irrigation & Wartime Camps Museum
Tool - Wood Plane, 1940's
Made by internees at camp 3, using wood sourced from under the barracks ie : stumps. Wood Plane, for wood working. Has a handle at the front for pushing it through wood. Also has metal blade kazenwadel, blacksmith, wood, tools camp 3, metal, woodworking -
Tatura Irrigation & Wartime Camps Museum
Tool - Chisel, 1940's
... : stumps. Used for wood working kazenwadel blacksmith wood tools ...Made by internees at camp 3, using wood sourced from under the barracks ie : stumps. Used for wood workingMetal chisel on a wooden handle, with a metal ferrule at each end of the handle. kazenwadel, blacksmith, wood, tools camp 3, metal, wood working -
Tatura Irrigation & Wartime Camps Museum
Tool - Chisel Small, 1940's
... Tatura the-murray Chisel Small Tool Chisel Small Chisel ...Made by internees at camp 3, using wood sourced from under the barracks ie : stumps. Used for wood workingChisel with small thin blade, wood shaped handle with metal ferrule at each end of handlekazenwadel, blacksmith, wood, tools camp 3, chisels -
Tatura Irrigation & Wartime Camps Museum
Tool - Chisel Medium, 1940's
... for wood working kazenwadel blacksmith wood tools camp 3 chisels ...Made by internees at camp 3, using wood sourced from under the barracks ie : stumps. Used for wood workingChisel, wood shaped handle with metal ferrule at blade end end of handle, partly covered with cream paintkazenwadel, blacksmith, wood, tools camp 3, chisels -
Tatura Irrigation & Wartime Camps Museum
Tool - Wooden Mallet, 1940's
... Tatura the-murray Wooden Mallet Tool Wooden Mallet Wooden mallet ...Made by internees at camp 3, using wood sourced from under the barracks ie : stumps. Used for wood workingWooden mallet made in one piece with a curve halfway along it`s length, handle at one endkazenwadel, blacksmith, wood, tools camp 3, chisels, mallets -
Tatura Irrigation & Wartime Camps Museum
Tool - Metal Wedge, 1940's
... working kazenwadel blacksmith wood tools camp 3 chisels mallets ...Made by internees at camp 3, using wood sourced from under the barracks ie : stumps. Used for wood workingMetal Wedge long and tapered at one end, worn and flattened at top end ( maybe from being struck with a hammer )kazenwadel, blacksmith, wood, tools camp 3, chisels, mallets -
Tatura Irrigation & Wartime Camps Museum
Tool - Metal Wedge, 1940's
... working kazenwadel blacksmith wood tools camp 3 chisels mallets ...Made by internees at camp 3, using wood sourced from under the barracks ie : stumps. Used for wood workingMetal Wedge long and tapered at one end, worn and flattened at top end ( maybe from being struck with a hammer )kazenwadel, blacksmith, wood, tools camp 3, chisels, mallets -
Tatura Irrigation & Wartime Camps Museum
Tool - Awl, 1940's
... : stumps. Used for wood working kazenwadel blacksmith wood tools ...Made by internees at camp 3, using wood sourced from under the barracks ie : stumps. Used for wood workingAwl and wooden handle with metal ferrule at end, thin metal shaft , slightly bent coming to a sharp point. Spare handle in a light wood with a brass ferrule.kazenwadel, blacksmith, wood, tools camp 3, chisels, mallets -
National Wool Museum
Functional object - Typewriter, Remington Typewriter Company, c.1925
This Remington No.12 typewriter is of the typebar, front-strike class. It was made by the Remington Typewriter Company of Ilion, New York, U.S.A. in about 1925. The Model No. 12 was introduced in 1922 and was one of the first 'visible writer' machines, in which the typed characters were visible to the operator. Previous models were of the upstrike class in which the characters were typed on the underside of the platen. To see what had been typed the operator had to raise the platen, meaning the typist was typing blind much of the time. This machine was used by Margaret Ganly née Burn in the 1930s. It was purchased for her by one of the sons of William Pride, a famous saddle maker in Geelong, William was Margaret’s grandfather. The typewriter was donated with original sales receipt and servicing tools. Margaret worked at Dennys for 7 years during the 1930s. The typewriter is accompanied with a story written by Margaret about her time working at the company. Margret married Jack Ganly, a fellow employee of Dennys. The Ganly name was well known within Dennys, with three generations of the Ganly family working at the company. WORKING CONDITIONS & OFFICE WORK DUTIES. Written by Margaret Burn in 2021. Worked at Dennys Lascelles in the 1930s. In the 1930s coming out of the Depression, jobs were hard to come by and had to be clung to by efficiency and subserviency. There was no union to protect workers – bosses could be tough and rough. Dennys Lascelles revolved around fortnightly wool sales in the “season” – September to May. Sale day was always a day of suppressed excitement. Preparation from a clerical point of view was complete and we now awaited the aftermath of the actual wool auction. The building teemed with people. There were country people down to see their wool sold, buyers of many nationalities, or from the big cities, who were coming in and out of the building all day. Their role was to inspect the acres of wool bales displayed on the show floors; however, caterers were present to feed clients, and there was plenty of social interactions on top of business. The office staff did not go home but waited until the first figures came back from the wool sales and the machines went in to action, both human and mechanical, preparing the invoices for the buyers’ firms. This comprised of lists of lot numbers, weights, prices per lb., and the total prices paid. A lot of this was done by old-school typewriters, making this work a big, heavy, tiring job. Before the finished lists could be dispatched, they were collated on an “abstract”. The lists had to balance with the catalogue from which the invoices had been prepared. This never happened automatically. All the paperwork had to be split up amongst pairs of workers and checked until discrepancies were found. This would happen until midnight but occasionally went until 2 or 3 am. Once complete, the invoices could then be rushed off to the buyers’ firms usually in Melbourne, and hire cars took the staff home. It was back on the job the next morning, usually around 8.30. The office hours varied according to the size of the sale and work involved. Some days started as early as 8 and could finish around 5.30. The second phase of work began with the account sales to be prepared for the sellers of the wool. These detailed all the weights, descriptions of wool, brands, and prices. One Sales account could have multitudes of lot numbers, all needing to be individually described. Various charges needed to be deducted such as finance for woolpacks, extra stock, or farmers who were given a loan to live on during the season. Details of how payment was to be made was also noted, whether the seller was to be paid by cheque, to a bank, or credited to their account with the company (which often left the seller still in debt). For a couple of months in the winter, things were quieter when staff took holidays and were sometimes given afternoons off. But there were still weekly skin sales and stock sales around the state. The annual end of June figures to be prepared for a big company like Dennys with branches all around the state also kept the staff busy. In good years there was sometimes a bonus. On sale days there was a bar open for the clients and wool buyers. This added to the excitement for the young girls, who were strictly barred from using it, but somehow managed to sneak a gin and tonic. This is how I had my first ever, before the evening meal. There was also the romantic notion in some minds, with all the influx of males, that some of us might end up on a wealthy station, or be noticed by an exotic buyer. To my knowledge, this never happened at Dennys Lascelles Limited. Group staff photo at Dennys Lascelles Limited. Margaret Burn. Age 18 or 19. Jack Ganly (Margaret’s future husband). 22.The typewriter has a black painted metal frame. The top section of the typewriter consists of a cylindrical platen on a carriage featuring plated metal fittings. A curved folding paper guide sits behind the platen and moves on the horizontal axis when the user types on the keyboard. A horizontal semicircular type basket with typebar links the top section to the lower keyboard. The ink ribbon is carried between two spools on a horizontal axis, one on each side of the type-basket. At the rear, a paper tray features gold lettering which reads ‘Remington’. At the front, a four-row QWERTY keyboard is found with 42-character keys total. 'SHIFT LOCK' and 'SHIFT KEY' are to the left of the keyboard, 'BACK SPACER' and 'SHIFT KEY' to the right. All keys are circular, white with black lettering. At the top of the keyboard are five circular red keys with the numbers 1-5 displayed behind their respective keys. A Spacebar is found along the front of the keyboard. The typewriter is accompanied by a cardboard box. This box contains the original sales receipt, on blue paper with grey lead handwriting. It also contains spare parts, a spare ribbon stretched between two spools, and cleaning tools such as brushes of differing sizes. Serial Number. Engraved. "LX45395" Gold lettering. Paper tray. “Remington” Gold Lettering. Behind keyboard. “Made in Ilion, New York, U.S.A. Gold Lettering. Mirrored both sides of type-basket. “12”remington, dennys lascelles ltd, worker conditions 1930s -
Puffing Billy Railway
Tool - Industrial Forge, unknown
Industrial Forge from Newport Railway WorkshopsIndustrial Forge is an excellent example of equipment used in the early 19th century through to the mid 20th century for industrial iron working. It directly links a fabrication method that is widely used across several of the other collection pieces.Large Industrial Forge made of cast metal and wrought ironNo markings or inscriptions puffing billy, industrial forge -
Maldon Vintage Machinery Museum Inc
Treadle Lathe, Post 1875
The first metal working machine used by David & James Thompson in 1878. Brought by ship by David Thompson who used it on the journey to make working models.The first machine used by David & James Thompson in their engineering section.Treadle lath for metal turning. Some brass accessories for metal working are laid out on a timber bench attached to the back of the lathe. Painted gunmetal grey and mounted on a black wooden platform for display purposes.Nonemachinery; tools; metalwork -
National Wool Museum
Tool - Lens, c.1960
Nino Corda was a Geelong based textile designer who worked at various textile mills between 1957 & 2003. He travelled the world in search of the latest fashions and techniques and developed timeless designs that were much loved by Australians. These items are on rotational display at the National Wool Museum’s ‘In the Factory’ exhibition. For many years, Nino also worked as part of the Honorary Staff of the National Wool Museum. His passion for the world of textiles provided energy and knowledge to the visitors and staff of the museum. Although Nino has now retired from his honorary position and has hung up his Australian Tartan vest, these items will continue to serve the community in sharing the stories of Australian Textile design. Textile designers used viewing lenses such as this to see how many threads are within a textile sample. It was important to count correctly, otherwise the enlarged final pattern would be out of alignment. Before compact lenses such as this, specialised glasses were used such as 8039.The viewing lens has a 3 fold design in order to fold up to be compact and easily transportable in a pocket while also working to provide its own stand when unfolded. The lens is black and contains one circular piece of magnifying glass on the top panel.Top panel. Words, scratched. NINOtextile calculations, textile design -
Federation University Art Collection
Ceramic - Artwork - Ceramics, Set of Four Goblets by John O'Loughlin
John O'LOUGHLIN Born Snowtown, South Australia In 1980 John O'Loughlin's life changed when he started wheel throwing ceramic vessels. During this time he discarded the superfluous and unnecessary clutter collected on the journey of life, yet retaining the essence of what mattered to him. John O’Loughlin's later artworks, such as 'Reliquary No. 20' engages with the way in which organised religion, specifically the Catholic Church, deals with the translation of the spiritual into the material. Informed by his extensive travels and studies, O’Loughlin’s ceramics reference the reliquaries and church artefacts that connect the life of this world with that of faith in another world. Completing undergeduate and post graduate works at Federation University John O'Loughlin's honours thesis was entitled "Ways and Means of Meaning, The Use of Symbol and Surface as Expressive Media in Ceramic Sculpture". The University provided a serious ceramic studio equipped with all the research tools for advanced ceramic exploration. Access to raw materials and a variety of kilns combined with excellent lecturers, mentors and technicians inspired, motivated and challenged him to push his accumulating knowledge to higher levels. O'Loughlin's working method in the studio is one of quiet, determined interaction with clay, idea and content. Experimentation with a variety of temperatures, firing methods and atmospheric conditions has produced a broad tonal and textural palette. He has worked with various clay bodies overlaid with coloured oxides, slips and engobes as the foundation for many of his works. O'Loughlin ufilised raised surfaces from old cemetery tombstones using the impressed forms and textures in his constructions. This research led him to the use of dry engobes to create a sense of antiquity, with crusty and distressed surfaces that resemble objects neglected in the oceans. These objects seem covered with the accretions and accumulations of history when re-discovered and brought to the surface as miraculous objects of mystery and magic. (https://www.thefreelibrary.com/John+O%27Loughlin%3A+a+man+re-invented.-a0216897107, accessed 12 September 2020) This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Four wheel thrown goblets, two with decorative stems. art, artwork, john o'loughlin, ceramics, goblets -
Federation University Art Collection
Ceramic - Artwork - Ceramics, 'Reliquary No. 20' by John O'Loughlin, 2007
John O'LOUGHLIN Born Snowtown, South Australia In 1980 John O'Loughlin's life changed when he started wheel throwing ceramic vessels. During this time he discarded the superfluous and unnecessary clutter collected on the journey of life, yet retaining the essence of what mattered to him. John O’Loughlin's later artworks, such as 'Reliquary No. 20' engages with the way in which organised religion, specifically the Catholic Church, deals with the translation of the spiritual into the material. Informed by his extensive travels and studies, O’Loughlin’s ceramics reference the reliquaries and church artefacts that connect the life of this world with that of faith in another world. Completing undergeduate and post graduate works at Federation University John O'Loughlin's honours thesis was entitled "Ways and Means of Meaning, The Use of Symbol and Surface as Expressive Media in Ceramic Sculpture". The University provided a serious ceramic studio equipped with all the research tools for advanced ceramic exploration. Access to raw materials and a variety of kilns combined with excellent lecturers, mentors and technicians inspired, motivated and challenged him to push his accumulating knowledge to higher levels. O'Loughlin's working method in the studio is one of quiet, determined interaction with clay, idea and content. Experimentation with a variety of temperatures, firing methods and atmospheric conditions has produced a broad tonal and textural palette. He has worked with various clay bodies overlaid with coloured oxides, slips and engobes as the foundation for many of his works. O'Loughlin ufilised raised surfaces from old cemetery tombstones using the impressed forms and textures in his constructions. This research led him to the use of dry engobes to create a sense of antiquity, with crusty and distressed surfaces that resemble objects neglected in the oceans. These objects seem covered with the accretions and accumulations of history when re-discovered and brought to the surface as miraculous objects of mystery and magic. (https://www.thefreelibrary.com/John+O%27Loughlin%3A+a+man+re-invented.-a0216897107, accessed 12 September 2020) This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Lidded ceramic form.art, artwork, john o'loughlan, ceramics, available, available ceramics -
Flagstaff Hill Maritime Museum and Village
Tool - Fid, Late 19th to early 20th century
A Fid is a conical tapered wooden tool used for separating the strands of rope for splicing. They were a tool traditionally made of wood or bone used to work with rope and canvas in marlinespike seamanship. A Fid differs from a marlinspike in material and purposes. A marlinspike is used in working with wire rope, natural and synthetic lines also may be used to open shackles, and is made of metal. A Fid is used to hold open knots and holes in the canvas, and to separate the "lays" (or strands) of synthetic or natural rope for splicing. A variation of the Fid, the gripfid, is used for ply-split braiding. The gripfid has a jamming cleat to pull a cord back through the cord split by the fid's point. Modern Fids are typically made of aluminium, steel, or plastic. In addition to holding rope open to assist the creation of a rope splice, modern push fid's have markings for precise measurements in a variety of sizes of rope. The length of these fid’s is typically 21 or 22 times the diameter of rope to be spliced. Fids have been used since sailing vessels were first used to travel the worlds seas the tool was invented to be used to splice rope and with working with canvas sails. A Fid is a sailors tool that has maintained its general design for hundreds of years and gives a snapshot into what the working life was like for sailors on board sailing ships for hundreds of years. The tool in its original design is still in regular use today by recreational sailors all over the world to splice and join lengths of rope.Fid with Horn body and wood top.Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village -
Flagstaff Hill Maritime Museum and Village
Tool - Fid, Mid 20th Century
A Fid is a conical tapered wooden tool used for separating the strands of rope for splicing. They were a tool traditionally made of wood or bone used to work with rope and canvas in marlinespike seamanship. A Fid differs from a marlinspike in material and purposes. A marlinspike is used in working with wire rope, natural and synthetic lines also may be used to open shackles, and is made of metal. A Fid is used to hold open knots and holes in the canvas, and to separate the "lays" (or strands) of synthetic or natural rope for splicing. A variation of the Fid, the gripfid, is used for ply-split braiding. The gripfid has a jamming cleat to pull a cord back through the cord split by the fid's point. Modern Fids are typically made of aluminium, steel, or plastic. In addition to holding rope open to assist the creation of a rope splice, modern push fid's have markings for precise measurements in a variety of sizes of rope. The length of these fid’s is typically 21 or 22 times the diameter of rope to be spliced. Fids have been used since sailing vessels were first used to travel the worlds seas the tool was invented to be used to splice rope and with working with canvas sails. A Fid is a sailors tool that has maintained its general design for hundreds of years and gives a snapshot into what the working life was like for sailors on board sailing ships for hundreds of years. The tool in its original design is still in regular use today by recreational sailors all over the world to splice and join lengths of rope.Metal Fid with a wooden bulb on top metal body tapering to a point. Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village -
Flagstaff Hill Maritime Museum and Village
Tool - Fid, Early 20th century
A Fid is a conical tapered wooden tool used for separating the strands of rope for splicing. They were a tool traditionally made of wood or bone used to work with rope and canvas in marlinespike seamanship. A Fid differs from a marlinspike in material and purposes. A marlinspike is used in working with wire rope, natural and synthetic lines also may be used to open shackles, and is made of metal. A Fid is used to hold open knots and holes in the canvas, and to separate the "lays" (or strands) of synthetic or natural rope for splicing. A variation of the Fid, the gripfid, is used for ply-split braiding. The gripfid has a jamming cleat to pull a cord back through the cord split by the fid's point. Modern Fids are typically made of aluminium, steel, or plastic. In addition to holding rope open to assist the creation of a rope splice, modern push fid's have markings for precise measurements in a variety of sizes of rope. The length of these fid's is typically 21 or 22 times the diameter of rope to be spliced. Fids have been used since sailing vessels were first used to travel the worlds seas the tool was invented to be used to splice rope and with working with canvas sails. A Fid is a sailors tool that has maintained its general design for hundreds of years and gives a snapshot into what the working life was like for sailors on board sailing ships for hundreds of years. The tool in its original design is still in regular use today by recreational sailors all over the world to splice and join lengths of rope.Fid, Metal and Wood top with brass ferrule between the two.Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village -
Flagstaff Hill Maritime Museum and Village
Tool - Fid, Late 19th- early 20th Century
A Fid is a conical tapered wooden tool used for separating the strands of rope for splicing. They were a tool traditionally made of wood or bone used to work with rope and canvas in marlinespike seamanship. A Fid differs from a marlinspike in material and purposes. A marlinspike is used in working with wire rope, natural and synthetic lines also may be used to open shackles, and is made of metal. A Fid is used to hold open knots and holes in the canvas, and to separate the "lays" (or strands) of synthetic or natural rope for splicing. A variation of the Fid, the gripfid, is used for ply-split braiding. The gripfid has a jamming cleat to pull a cord back through the cord split by the fid's point. Modern fid's are typically made of aluminium, steel, or plastic. In addition to holding rope open to assist the creation of a rope splice, modern push fid's have markings for precise measurements in a variety of sizes of rope. The length of these fid's is typically 21 or 22 times the diameter of rope to be spliced. Fids have been used since sailing vessels were first used to travel the worlds seas the tool was invented to be used to splice rope and with working with canvas sails. A Fid is a sailors tool that has maintained its general design for hundreds of years and gives a snapshot into what the working life was like for sailors on board sailing ships for hundreds of years. The tool in its original design is still in regular use today by recreational sailors all over the world to splice and join lengths of rope.Wooden Fid with 3 rings around base of knob at the top of fid. Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village -
Flagstaff Hill Maritime Museum and Village
Tool - Marlin Spike, Unknown possibly washed up from a wreck late 19th century
A marlinspike is a tool used in marine rope work it is shaped in the form of a polished metal cone tapered to a rounded or flattened point, it is used in such tasks as unlaying rope for splicing or untying knots. For drawing a marline tight and using a marlinspike hitch as well as for joining toggle ropes under tension in a belaying pin splice. Most marlin spikes are 15–30 cm long, but may reach 61 cm and more for working heavy cables and ropes. They are usually made from iron or steel, whereas fids, similar in shape and function, are formed from wood or bone. The marlinspike may be a separate tool or as an item on a pocket knife. Sailors who become proficient at knot tying, splicing, and sewing using the marlinspike are said to have mastered marlinespike seamanship, earning them the right to be known as marlin spikes or marlinspike seamen.A tool still very much in use today wherever a rope or cable requires joining, splicing etc the marlin spike tool design has not changed since first invented centuries ago as a sailors tool to splice and make repairs to ropes and cables on board a ship. This item gives a snapshot into the life sailors have on board sailing vessels past and present. Marlin Spike made of solid steel. Handle is bulbous and spike end is rounded.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, marlin spike -
Flagstaff Hill Maritime Museum and Village
Mallet
John Heath tool boxSmall wood working mallet. 210mmL x 75mmWflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village