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City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Newsletter, CMHS Moorabbin Mirror Issue 9 February 2017, CMHS Moorabbin Mirror Issue 9 February 2017, 2017
This is Issue 9 of the Moorabbin Mirror produced by CMHS members Fran & Holger Bader , Geoffrey Paterson in February 2017 The Moorabbin Mirror reflects the history and heritage of the former City of Moorabbin — derived from Mooroobin, ‘a resting place’ in the Bunurrung spoken language. In 1994, the City of Moorabbin was integrated into the Cities of Bayside, Glen Eira, Kingston and Monash. Members are advised of the 2017 Open Day Dates, Membership Renewals, Committee Meeting Dates, and Pharmaceutical Bottle Display in February & March, the Charman Family Marigold Gardens. CMHS and GEHS coordinated a Display of Market Gardeners at Stanley's Menswear, East Bentleigh in January and February. Members attended the Re-opening of Bentleigh Station December 2016. Members attend City of Kingston Historical Network meetings. Scanning and preserving of the Original CMHS Newsletters compiled by Mr T.A.Sheehy, is proceeding with equipment purchased with the KCC Community Grant. Hedley Potts, Ceramist, exhibited at GECC Gallery November 2016. Update on the progress of the August Rietman Exhibition in October 2017 describes the 'Lone Digger' memorials in Victorian country towns. History of the establishment of Bentleigh Library. This is Issue 9 of the Moorabbin Mirror, Newsletter of CMHS February 2017A4 x 3 paper folded to A5 x 6pp with colour photographsMoorabbin / Mirror / February 2017 Issue 9moorabbin mirror, bader fran, bader holger, paterson,geoffrey, stanley's menswear east bentleigh, kingston city council, glen eira city council, bentleigh railway station, pharmaceutical bottles, pharmacy, medications, charman stephen, gettens mary anne, marigold farm, rietman august, ww1 lone digger memorials, box william, box elizabeth, brighton cemetery, potts hedley, sheehy t a, cmhs original newsletters, bentleigh library, -
RMIT Design Archives
Painting, Illustration of a Woman in Traditional Dress from Patzcuaro, Michoacán, Mexico, c.1953
Gouache on paper illustration of a woman from Pátzcuaro region, Michoacán, Mexico, by Mexican fashion illustrator Alfredo González Bouret (1926-2018). Likely created in 1953, prior to being exhibited in Mexico and Paris in 1954. From the Patzcuaro region of Michoacán state, Mexico, this woman wears a wide-brimmed 'sombrero' on top of her 'rebozo' - a long rectangular shawl made of wool or cotton with an intricate hand-knotted pattern, popular throughout Mexico. Her hair is held away from her face, likely in long plaits down her back in the traditional style of the region. Her ears and neck are decorated with long earrings and strings of beads, while her plain white blouse is tucked in to a bright red 'refajo' skirt, gathered at the waist by a textile belt with geometric designs. In her hands she holds long-stemmed lilies. While resembling other illustrations of fashion from the Patzcuaro region, this costume stands out for the bright colour of the skirt, and the lack of embroidered decoration on the blouse. Rebecca Lloyd, 2019.Mounted painting of a woman in traditional regional dress from the Patzcuaro region of Michoacán, Mexico. Gouache on paper, c.1953.Signed in green paint, bottom right, 'AG Bouret'.mexico, 1953, fashion design, painting, illustration, mexican, fashion illustration, dress -
Australian Gliding Museum
Machine - Glider – Sailplane, 1959
This aircraft was designed by Edmund Schneider as a single seat medium performance sailplane. Originally designated as the Grunau 3b but later named the Grunau 4. However, it was a new design with fully enclosed cockpit. The main point of difference to earlier Schneider Grunau designs was the tapered wings with the Gottingen 549 aerofoil. This design feature gave the Grunau 4 a better speed range compared to the Grunau Baby 2b or the Grunau 3. The prototype flew on 6 December 1953 and it went to the Waikerie Gliding Club. A second was delivered to the Dubbo Gliding Club in October of the next year and a third (the Australian Gliding Museum’s exhibit) built for the Adelaide Soaring Club in 1959 (registered as VH-GLX on 21 October 1959). Another was built by Josef Brabec from a Schneider supplied kit from 1954 to 1956. The log book indicates that the glider recorded 2362 flying hours over approximately 40 years of active service. There are many long flights recorded. The registration was cancelled on 30 July 2014 as a result of a decision by the Museum to withdraw the glider from service. The exhibit represents the final development of the "Grunau" single seat type by Edmund Schneider Ltd in Australia. Viewed together with the Grunau Baby gliders in the ATO Collection (Two Grunau Baby 2, and a Grunau Baby 3A), the changes to this glider type over a 30 year period can be recognized. Single seat wooden sailplane with fabric covering. Fully enclosed cockpit. The aircraft is white with Linden Green on the wing tips, tailplane and underside of the fuselage and also on the central wing cover. Identification Plate in cockpit showing that glider is serial number 37 built by Edmund Schneider Ltd in 1959 australian gliding, glider, sailplane, grunau, grunau 3a, grunau 3b, grunau 4, schneider, waikerie gliding club, dubbo gliding club, adelaide soaring club, josef brabec -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Monument - Memorial, Irwin and Stevenson, Brighton War Memorial, 1927
On 23 July 1922, Brighton City Council adopted the recommendation from a sub-committee that the site for a war memorial be at Green Point, Brighton Beach. Brighton Council invited designs, limited to returned soldier architects and 18 designs were received. The first prize of £30 was awarded to the architecture firm Irwin and Stevenson and the designs were exhibited at the Brighton Town Hall in 1925. The bronze casting, using lost wax technique, was executed by sculptor Mr. Paul Montford, to the design of the architect and the central assemblage was believed to be the largest bronze casting in relief carried out in Australia at the time. The Brighton War Memorial was unveiled by His Excellency the Governor, the Right Honourable Arthur Herbert Tennyson Baron Somers, K.C.M.G., D.S.O., M.C., on Sunday 24th April 1927 in the presence of 4,000 people. The memorial was originally constructed to commemorate those from the City of Brighton who served in World War One but has since been augmented to commemorate those from the municipality of Bayside who have made the ultimate sacrifice during official periods of hostility.War memorial consisting of a sandstone cenotaph, granite base and sandstone terrace situated at Green Point, Brighton. The cenotaph is a truncated obelisk with classical decoration in stone and bronze. The cenotaph bears the Rising Sun badge in bronze relief near its top with bronze lettering running down the cenotaph reading "ERECTED IN HONOUR OF THOSE WHO FOUGHT IN THE GREAT WAR 1914 – 1919". A bronze relief assemblage of crossed weapons, a wreath, the lamp of valour and the Latin phrase "DUCIT AMOR PATRIA" (love of country leads me) sit above the base which is carved with the word "SERVICE". The terrace walls have bronze relief medallions with images of the head of an airman on the left and an infantryman on the right. The back of the cenotaph bears a torch in bronze relief near its top. On the sandstone wall behind the cenotaph are three large bronze plaques that lists the names of those from the City of Bayside who have served in the various conflicts in which Australia has been involved. At the back of the sandstone wall is carved lettering reading "HISTORY GAVE THEM A COMMON FAME. POSTERITY A COMMON MONUMENT" with 1914 carved on the left and 1919 on the right.brighton war memorial, memorial, cenotaph, green point, war memorial, brighton, service, paul montford, irwin and stevenson, rising sun, wreath, weapons, lamp of valour, great war, world war one, honour roll, honour board, roll of honour, ducit amor patriae, brighton beach, city of brighton, leighton major francis irwin, roy kenneth stevenson -
Port of Echuca
Audio - Oral History - Jenny Watson, Oral History of Captain Jenny Watson recorded 2023, 2023
Jenny Watson is a long-time employee of the Port of Echuca known for her extensive knowledge of the Murray River and associated stories of past and present. Born in Rhodesia, Jenny escaped internal conflict and came to Australia at 19 years old. A great horsewoman and also a natural on vessels, when she came to Echuca in the 1980s, she soon trained for her Masters Certificate with the encouragement of skippers such as Kevin Hutchinson and Alan Bartch. She skippered the P.S. Canberra and P.S. Emmylou for many years. Jenny worked at the Tourism Centre before the Discovery Centre was built. Her knowledge helped her become an integral Tour Guide at the Port of Echuca and her sensitivity to the unseen world, led her to develop the special Port After Dark Tour revealing some of the spirits and energy that runs unseen through the Port from past events. This remains a very popular tour with visitors and locals. Jenny currently comes in as a specialist volunteer talking to visitors about every subject to do with Port. Jenny is a living legend. Jenny features in the Women of the River Exhibit in the Discovery Centre.Digital recording of oral history interview with Jenny Watson riverboat captain in the 1980s. discovery centre, tour guide, port after dark, captains, murray river captains, women of the river, p.s. canberra, p.s. emmylou, 1980s -
Otway Districts Historical Society
Prize, Beech Forest and Otway District Produce Society, Prizes, 1922-1932, See individual prizes
Beech Forest and Otway District Produce Society: (a) Second Prize, D. Towers, for Snowflake, A.W. MacKenzie, Secretary. (b) Seventh Annual Show, 1923, Second Prize, D. Towers, for Best Collection Dressed Forest Timbers, exhibit no. 2, C.J. Brammer, Hon. Secretary. (c) Twelfth Annual Show, Second Prize, D. Towers, Class B Section 2 Ex 1, Cr. J.C. Gardner JP, Pres., W.J. Gray FABI SFAI, Hon. Sec. (d) Fourteenth Annual Show, 27 May 1931, First Prize, D. Towers, Class B Sec 1, Mr J. Perry, President, W.J. Gray FABI SFAI, Hon. Sec. (e) Fourteenth Annual Show, 27 May 1931, First Prize, D. Towers, Class B Sec 2, Mr J. Perry, President, W.J. Gray FABI SFAI, Hon. Sec. (f) Fifteenth Annual Show, 25 May 1932, First Prize, D. Towers, Cup Section 5, J.A. Perry, Pres., W.J. Gray, FCI (Eng.), Hon. Sec. (g) Fifteenth Annual Show, 25 May 1932, Second Prize, D. Towers, B 1/7, J.A. Perry, Pres., W.J. Gray FCI (Eng.), Hon. Sec.beech forest; otway; produce; prize; -
Ballarat Tramway Museum
Memorabilia - Event Materials, BEMPS, "Ballarat's Industrial Heritage Rally - Feb. 1998", 28/06/1998 12:00:00 AM
The following items are associated with the display of Horse Tram No. 1 at the Ballarat Engine and Machinery Preservation Society Rally at the Ballarat Showgrounds on Feb. 28 and Mar. 1, 1998. 807.1 - A4 sheet of paper, printed by BTM on 27/2/1998, advising the horse tram was on display at the showgrounds - used at the depot. 807.2 - A4 sheets of card, printed by BTM on 27/2/1998, advising people to take care when climbing the stairs, and please do not enter signs on reverse, tours on the hours and where queries could be made. Printed by laser printer on yellow card and contained within a plastic display folder. 807.3 - Three copies of the Rally brochure or flier, advertising the Rally at the Showgrounds. Printed mid 1997, on orange paper, phone numbers etc. 807.4 - A4 exhibit sheet for use on the Horse tram at the exhibition. Overprinted by BTM on 28/2/1998. 807.5 - Souvenir Programme - 28 pages plus heavy card covers, 32 pages in all, with index on page 3, list of exhibitors, Ballarat Foundries and Metal Manufacturers listings, Agricultural manufacturers, photographs, advertisements, with colour cover. 807.6 - cast brass rally badge - with organisers name cast on an oval shaped plaque with the words "Ballarat Industrial Heritage Rally" cast under and two figures, a farmer and an miner on either side. Has been stamped No. 64.trams, tramways, souvenir programmes, industrial heritage rally, ballarat manufacturers, ballarat showgrounds -
The Beechworth Burke Museum
Geological specimen - Bituminous Coal, Unknown
Bituminous coal is the most common type of coal, abundantly found in ancient coal deposits which can be dated back millions of years. Often referred to as soft or black coal, this specimen exhibits a high carbon content, ranging from 76-86%. It also holds a relatively high energy density (27 MJ/kg) meaning that it releases significant amounts of energy when burned. Bituminous coal is most commonly used for electricity generation, as well as in the production of steel. This particular piece of coal was collected as part of the Geological Survey of Victoria in the nineteenth century. It originates from Cape Paterson, a seaside village located in South Gippsland, Victoria (located on Bunurong Country). The discovery of bituminous coal in this locality was first made in 1826 by explorer William Hovell. More discoveries were gradually made over the following decades and in 1859 the Victorian Coal Company commenced the first active coal mining operations in the state by sinking a number of shafts and bores near the area of Cape Paterson. Evidence of this coal-focused past can be found today at the State Coal Mine Museum in the nearby town of Wonthaggi. This specimen is significant as it was collected from the locality of Cape Paterson in Victoria, an area that has since become historically instrumental in the mining of coal and other substances in the state of Victoria. This specimen is part of a larger collection of geological and mineral specimens collected from around Australia (and some parts of the world) and donated to the Burke Museum between 1868-1880. A large percentage of these specimens were collected in Victoria as part of the Geological Survey of Victoria that begun in 1852 (in response to the Gold Rush) to study and map the geology of Victoria. Collecting geological specimens was an important part of mapping and understanding the scientific makeup of the earth. Many of these specimens were sent to research and collecting organisations across Australia, including the Burke Museum, to educate and encourage further study. A solid hand-sized piece of bituminous coal with a shiny black-grey surface and jagged edges.Existing Label: BITUMINOUS COAL / Locality: Cape / Patterson, VIC. burke museum, beechworth, geological, geological specimen, state coal mine museum, wonthaggi coal mine, victorian coal company, bituminous coal, coal victoria, coal energy generation, william hovell, cape paterson, coal specimen -
Federation University Art Collection
Work on paper, Alun Leach-Junes, 'Untitled' by Alun Leach Jones, 1970
Alun LEACH-JONES (1937- 24 December 2017) Born Maghull, Lancashire, United Kingdom Arrived Australia 1960 Alun Leach-Jones is recognised as one of Australia's leading abstract colour painters. He spent his childhood in the Welsh village of Glasfryn, Denbighshire. At the age of 14 he started a three year apprenticeship with the Solicitors Law Society, Liverpool illuminating manuscripts and hand copying legal documents. While working with the law society Leach-Jones studied painting and drawing in the evenings at the Liverpool College of Art between the years 1955-57. He immigrated to Australia in 1960, settling in Adelaide and attending the South Australian School of Art, after which he travelled and exhibited throughout Australia and abroad. In 1966 Leach-Jones celebrated Noumenon series was shown with Australian Galleries in Melbourne and he was immediately recognised as being part of what was then labelled as ‘the New Abstraction’ in Australian art. Later in 1968 his work was included in the influential exhibition "The Field" held at the National Gallery of Victoria. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.art, artwork, alun leach-jones, leach-jones, printmaking, screenprint -
Federation University Art Collection
Ceramic, Ino Kiyoshi, [Vase] by Ino Kiyoshi, c1982
Ino KIYOSHI (b 1946, Kyoto Japan, d. 2008) Worked in Australia from 1973–76 and 1978–2008 Ino Kiyoshi was to a family that has been involved in the production of pottery for some 160 years. Working in the family studio while studying at the Kyoto School of Arts and Crafts, he completed his diploma of Ceramic Art in 1969. He then attended the KyotoTechnical School for a post-graduate course in glazing. then lectured in ceramics at the KyotoTechnical School. Following in the footsteps of the famous Japanese potter, Shoji Hamada who had visited Australia in 1965, Kiyoshi Ino visited Sydney in 1973, where he worked with Japanese potter Shigeo Shiga). Kiyoshi took up an appointment as Visiting Lecturer in Ceramics at the Gippsland Institute of Technical Education, Churchill, Victoria, from 1974 to 1976 and returned there as Assistant to the Senior Lecturer in Ceramics in 1979. He ceased teaching at the Gippsland Institute in 1988. Ino was involved in the establishment of a space for artists in the old butter factory at the nearby township of Yinnar and in 1982 the Yinnar Art Resource Collective, commonly known as Yinnar ARC, was established. Ino has exhibited extensively throughout Australia.Australian Studio Ceramics Gift of the artist, 1982Impressed seal for Kiyoshi Ino on baseceramics, gippsland campus, jan feder memorial ceramics collection, ino kiyoshi, japanese ceramics -
Federation University Art Collection
Ceramic, [Untitled] by Ino Kiyoshi, c1982
Ino KIYOSHI (b 1946, Kyoto Japan, d. 2008) Worked in Australia from 1973–76 and 1978–2008 Ino Kiyoshi was to a family that has been involved in the production of pottery for some 160 years. Working in the family studio while studying at the Kyoto School of Arts and Crafts, he completed his diploma of Ceramic Art in 1969. He then attended the KyotoTechnical School for a post-graduate course in glazing. then lectured in ceramics at the KyotoTechnical School. Following in the footsteps of the famous Japanese potter, Shoji Hamada who had visited Australia in 1965, Kiyoshi Ino visited Sydney in 1973, where he worked with Japanese potter Shigeo Shiga). Kiyoshi took up an appointment as Visiting Lecturer in Ceramics at the Gippsland Institute of Technical Education, Churchill, Victoria, from 1974 to 1976 and returned there as Assistant to the Senior Lecturer in Ceramics in 1979. He ceased teaching at the Gippsland Institute in 1988. Ino was involved in the establishment of a space for artists in the old butter factory at the nearby township of Yinnar and in 1982 the Yinnar Art Resource Collective, commonly known as Yinnar ARC, was established. Ino has exhibited extensively throughout Australia. Gift of the artist, 1982impressed seal for Kiyoshi Ino on baseceramics, shikuhu ino, jan feder memorial ceramics collection, gippsland campus, yinnar, yinnar art resource collective -
Federation University Art Collection
Artwork - Ceramics, Ceramic Forms by Elsa Adern
Elsa ADERN (1918-2006) Born New Zealand Arrived Melbourne 1942 Elsa Ardern was living at Warrandyte in 1954 when she started studying pottery under John Bernard Knight at the Melbourne Technical College. In 1961 she was a founding member of Potters' Cottage at Warrandyte with friends Sylvia Halpern and Kate Janeba. She worked from a studio under the family home, exhibiting at the cottage and also through the Victorian Ceramic Group when it was set up in 1969. In 1980 she established a workshop at Tathra on the far south coast of NSW, sharing her time between Tathra and Warrandyte for the next 25 years. Amongst the work made at Tathra were some very large pieces which she fired in the Stafford Brothers' wood-fired brick-kiln at Kalaru. Part of the clay for these came from the Staffords' clay-pits. Elsa Adern is known for her strong form of her pots, enhanced by her characteristically subtle wood-ash glazes. Her works are signed with an incised 'Elsa Ardern' or 'EA'. (http://www.australianpotteryatbemboka.com.au/shop/index.php?manufacturers_id=32)available, elsa adern, available ceramics, ceramics -
Federation University Art Collection
Oil on canvas, 'Vaironcana – A Variation on Theme 45' by Alun Leach-Jones, 1974
Alun LEACH-JONES (1937- 24 December 2017) Born Maghull, Lancashire, United Kingdom Arrived Australia 1960 Alun Leach-Jones is recognised as one of Australia's leading abstract colour painters. He spent his childhood in the Welsh village of Glasfryn, Denbighshire. At the age of 14 he started a three year apprenticeship with the Solicitors Law Society, Liverpool illuminating manuscripts and hand copying legal documents. While working with the law society Leach-Jones studied painting and drawing in the evenings at the Liverpool College of Art between the years 1955-57. He immigrated to Australia in 1960, settling in Adelaide and attending the South Australian School of Art, after which he travelled and exhibited throughout Australia and abroad. In 1966 Leach-Jones celebrated Noumenon series was shown with Australian Galleries in Melbourne and he was immediately recognised as being part of what was then labelled as ‘the New Abstraction’ in Australian art. Later in 1968 his work was included in the influential exhibition "The Field" held at the National Gallery of Victoria. 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. Purchased by the Council of State College of Victoria, Ballarat, 1974art, artwork, leach-jones, alun leach-jones -
Federation University Art Collection
Drawing, Alun Leach-Junes, 'Sea Wall at Night (The Mumbles)' by Alun Leach-Jones, 1994
Alun LEACH-JONES (1937-24 December 2017) Born Maghull, Lancashire, United Kingdom Arrived Australia 1960 Alun Leach-Jones is recognised as one of Australia's leading abstract colour painters. He spent his childhood in the Welsh village of Glasfryn, Denbighshire. At the age of 14 he started a three year apprenticeship with the Solicitors Law Society, Liverpool illuminating manuscripts and hand copying legal documents. While working with the law society Leach-Jones studied painting and drawing in the evenings at the Liverpool College of Art between the years 1955-57. He immigrated to Australia in 1960, settling in Adelaide and attending the South Australian School of Art, after which he travelled and exhibited throughout Australia and abroad. In 1966 Leach-Jones celebrated Noumenon series was shown with Australian Galleries in Melbourne and he was immediately recognised as being part of what was then labelled as ‘the New Abstraction’ in Australian art. Later in 1968 his work was included in the influential exhibition "The Field" held at the National Gallery of Victoria. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Pastel drawing on Stonehenge paper. Donated through the Australian Government's Cultural Gifts Program by David Thomas and Brenda Martin, 2011Signed verso lower left 'A. Leach-Jones'art, artwork, leach-jones, alun leach-jones, cultural gifts program, new abstraction, the field -
Eltham District Historical Society Inc
Photograph, Peter Pidgeon, Heritage Excursion: Mud Brick Meander, 6 March 2021
Corner of Diamond Street and Peter Street, Eltham. Walkers gather for the beginning of the walk led by local historian Russell Yeoman. The tree-covered hill that forms the western backdrop to the Eltham town centre exhibits many characteristics that are considered to contribute to the special character of Eltham. They include unmade streets, steeply sloping land, extensive tree cover and a large number of mud brick and pise (rammed earth) houses. A number of these were constructed in the 1940s and 50s by well-known builders John Harcourt and Alistair Knox. A significant proportion from this period were constructed by owner-builders. We walked around the upper part of the hill in the area of Kerrie Crescent and Peter Street. We visited several interesting houses (for external viewing only). The walk commenced at 2pm at the corner of Diamond Street and Peter Street (Melway ref 21H4) and was about 2 km. This free walk was open to the general public as well as Society members. Whilst COVID restrictions did not require the wearing of masks in the open, masks had to be carried and all attendees registered with name and contact number or via QR registration.Born Digital (8 images)covid-19, eltham, eltham district historical society, heritage excursion, mudbrick, peter street, diamond street, russell yeoman -
Flagstaff Hill Maritime Museum and Village
Functional object - Propeller, Purdon & Featherstone, 1909
This is an original propeller included with the steamer, the 1909 ferry SS Rowitta, which was installed at Flagstaff Hill in 1975 and was enjoyed by many visitors for 40 years. The wooden steam ferry Rowitta was built from 1909 to 1910 at Battery Point, Hobart, by Purdon & Featherstone using planks of Huon and Karri timber. It was owned and operated by the Tamar Trading Company and navigated the Tamar River from Launceston to George Town for many years. The ferry trip became a favourite activity for sightseeing passengers along Tasmania’s Tamar and Derwent rivers for 30 years. Rowitta also worked as a coastal trading vessel between Devonport and Melbourne as well as along the southern coast of Australia. The ship had served as a freighter, an army supply ship, a luxury charter ferry and a floating restaurant as well as a prawn boat at Lakes Entrance. It was also previously named the Sorrento by Port Phillip Ferries Pty Ltd of Melbourne and had at one time carried the name Tarkarri. The ferry was originally purchased by the Flagstaff Hill Museum in 1974 for converting into the historic and significant sailing ship the Speculant, but this didn’t eventuate due to the unavailability of funding. It was renovated it and renamed as the original Rowitta, to be used as an exhibit.The propeller represents a step in the evolution of ways that vessels were powered. It is also a record of the Rowitta, a large exhibit at Flagstaff Hill Maritime Village from the museum’s early beginnings until the vessel’s end of life 40 years later. The Rowitta represents the importance of coastal traders to transport, trade and communication along the coast of Victoria, between states, and in Australia before rail and motor vehicles. The vessel was an example of a ferry built in the early 20th century and serving many different purposes over its lifetime of over 100 years. Propeller, three metal blades that meet in a central boss fitting that has a pointed cap. The blades have rounded edges and tips. This is an original propeller from the 1909-1910 steam ferry, ROWITTA, built in Hobart, Tasmania.flagstaff hill, warrnambool, maritime village, maritime museum, liverpool, ss rowitta, navigation, marine technology, steam driven, propeller, hobart, tasmania, devonport, tasmanian-built, ferry, steam ferry, steamer, 1909, early 20th century, passenger vessel, tamar trading company, tamar river, launceston, george town, tarkarri, speculant, port phillip ferries pty ltd, melbourne, coastal trader, timber steamer, huon, karri, freighter, supply ship, charter ferry, floating restaurant, prawn boat, lakes entrance, sorrento -
Mission to Seafarers Victoria
Photograph, circa 1935
In 1935, the CB Pedersen arrived on the 13th of April after 198 days at sea. The ship left on the 18th June (date written on the photograph) after two months in Melbourne. Captain Dalhstrom had been its skipper for 13 years. In the Sydney Morning Herald, Tuesday 27 April 1937, page 12: "The C. B. Pedersen was built in 1891. It has visited Australia several times, the most recent occasion having been in 1935, when It was anchored in Port Phillip Bay, Victoria, for several weeks, awaiting a suitable cargo. At length the master, (Captain Hjalmar Dahlström) announced that, as no cargo could be obtained he would be prepared to carry passengers in a voyage to Gothenburg, via Torres Strait. Eight persons, including three women and a small boy were accepted as passengers, and signed on as members of the crew at salaries of 1/ a month". Artist Violet Teague was one of the passengers. She painted during the voyage and exhibited her work in 1938. Built in 1891 the C.B Pedersen, a four-masted steel barque (2142 tons) was used as a training Barque. The ship foundered in April 1937, the crew was saved.The C.B. Pedersen was one of the last windjammers sailing in the 1930s with the Herzogin Cecilie and the Grace Harwar. Black and white photographLower right corner front in black ink: H. Dahlström / June 13th 1935 / On board the CBP / in Hobson's Bayc.b. pedersen, captain hjalmar dahlström, violet teague, windjammer, sweden -
Flagstaff Hill Maritime Museum and Village
Textile - Tapestry, 1988
A thousand years of Warrnambool history has been documented in this creative tapestry, woven in 1988. The Tapestry hangs in the Great Circle Gallery at Flagstaff Hill and complements the theme of the display. Three local women with the help of Museum staff researched and designed the tapestry, which was woven in 1988 from wool and cotton. It is 10 meters long and 70 cm deep and took 7 months to create. The tapestry introduces the seafaring theme of the Center and illustrates a timeline of events dating back to the arrival of Europeans in the Warrnambool area. It begins with the settlement of the area by Europeans and travels back in time as you walk further into the gallery, depicting shipwrecks along the coast, whaling of the area, early exploration by Europeans James Grant and Nicholas Baudin, back to the indigenous settlement of the area, represented by middens and indigenous symbols. (Interestingly prior to being hung in the gallery, the tapestry was originally hung with the intention of being framed from right to left). All materials in the cotton and wool tapestry, includinghand-dyed dyed wool, were prepared for a cost of $33,000. (This information is from Flagstaff Hill Maritime Village's Exhibit fact sheet)Tapestry of the early history of Warrnambool area, rectangular in shape. Materials include cotton and wool, some of the wool being hand dyed. Made in 1988 by local women.A plaque accompanies the Tapestry "Flagstaff Hill Maritime Tapestry / 1989 / Tapestry: Woven Cotton and Wool / Mary O'Brien Gerda Shanley / Judith Stewart Beryl Conlan"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, tapestry, warrnambool history, warrnambool textiles, south west victoria history, south west victoria timeline, indigenous people -
Federation University Art Collection
Work on paper - Printmaking - Screenprint, Leach-Jones Alun, 'No 2 Untitled' by Alun-Leach Jones, 1967
Alun LEACH-JONES (1937 - 24 December 2017) Born Maghull, Lancashire, United Kingdom Arrived Australia 1960 Alun Leach-Jones is recognised as one of Australia's leading abstract colour painters. He spent his childhood in the Welsh village of Glasfryn, Denbighshire. At the age of 14 he started a three year apprenticeship with the Solicitors Law Society, Liverpool illuminating manuscripts and hand copying legal documents. While working with the law society Leach-Jones studied painting and drawing in the evenings at the Liverpool College of Art between the years 1955-57. He immigrated to Australia in 1960, settling in Adelaide and attending the South Australian School of Art, after which he travelled and exhibited throughout Australia and abroad. In 1966 Leach-Jones celebrated Noumenon series was shown with Australian Galleries in Melbourne and he was immediately recognised as being part of what was then labelled as ‘the New Abstraction’ in Australian art. Later in 1968 his work was included in the influential exhibition "The Field" held at the National Gallery of Victoria. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Framed screenprint.art, artwork, printmaking, alun leach-jones, abstract colour, south australian school of art -
Merri-bek City Council
Painting - Liquid nails and spray enamel on canvas, Brian McKinnon, Scars, 2008
Uncle Brian McKinnon (b. 1957 – d. 2023) was a Geelong-based artist and descendent of the Amangu and Wongai people of Western Australia. He created powerful mixed media works that explore his campaign for Aboriginal rights and his childhood experiences growing up in Western Australia. Scars is a deeply personal and political work that reflects on some of the ways in which Aboriginal people have historically been discriminated against and marginalised because of the colour of their skin and cultural practices. Originally exhibited with two other paintings, it was also made in honour of the artist’s children and their struggle to maintain positive self-esteem. Uncle Brian McKinnon said his children inherited keloids from their ancestors: ‘These keloids look like body scars. In this work, I have placed them in the past and the presence of their ancestors through the act of beautifying the marks, which reflect the landscape and the identity of the person wearing the beautification marks. Although the marks on my children are not so beautiful and they are ostracised because of them, this made me think of racist policies and of course the referendum and when my people were seen for the first time as being human.’ -
Federation University Art Collection
Painting - Natural pigment on bark, Mawurndjul, John, 'Female Wayarra Spirit' by John Mawurndjul, 1995
Balang [John MAWURNDJUL] (1952 - ) Born Mumeka, Northern Territory Country: Milmilngkan, West Arnham Land, Northern Territory Clan: Na-Kurulk Language Group: Kunwinjku Location: Milmilngkan John Mawurndjul is an Australian indigenous artist. He is a member of the Kuninjku people of West Arnhem Land, Northern Territory. Growing up John had only occasional contact with non-indigenous people and culture. He was tutored in rarrk, a traditional painting technique using fine cross hatching and infill, working on small barks. During the 1980s he started producing larger and more complex works. The artist has painted 'Wayarra', a generic term which can include both malevolent spirit beings which continually inhabit certain sites or objects but can also mean the Spirit of a recently deceased person. These spirits are one of two spirits of the dead, the other being the 'Kun-malng' soul. The 'Wayarra' is the shadow or 'shade' of the dead and may take on the form of the deceased and haunt areas where the deceased recently inhabited. In order to prevent Wayarra spirits from harassing relative of the recently deceased, a smoking ceremont is performed where Ironwood leaves are burnt around the camp of the recently deceased and ochre is rubbed on all objects belonging to the deceased. Ochre may also be rubbed on vehicles, houses and trees. Some Wayarra are a particular Dreaming totem for people of certain clans. This is why many artists depict Wayarra in their bark paintings and sculptures. They are depicting clan totems particular to their lineage and which are celebrated in major regional patrimoiety ceremonies. In 1989 the work of John Mawurndjul was included in the landmark exhibition "Magiciens de la Terra' at the Centre Pompidou and Grande Halle de la Vilette in Paris, France. His works have also been exhibited in numerous solo and group exhibitions in Australia, New York, Paris and Japan. Mawurndjul is one of eight artists whose work in part of the largest inernational commission of contemporary Indigenous art from Australia at the Musee du Quai Branly, Paris. The work was exhibited in the Australian survey "John Mawurndjul: I Am The Old And The New", at the Museum of Contemporary Art, one of the 160-odd works all chosen by Mawurndjul for inclusion in the exhibition. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.This artwork was chosen by John Murwurndjul as on of around 160 works for exhibition in the 2018 Australian Survey of his work at the Museum of Contemporary Art. The artist is known for his rarrk work, which is evident in 'Female Wayarra Spirit'.Aboriginal bark painting featurung rarrk. The artwork is associated with Dilebang, a duwa moiety place that belongs to the Kurulk clan. This work is currently on loan for exhibition in 'John Mawurndjul: I am the old and the new'. The exhibition will be shown at the Museum of Contemporary Art Australia (Sydney) from 6 July – 23 September 2018, and the Art Gallery of South Australia, Adelaide from 26 October 2018 – 28 January 2019.art, artwork, john mawurndjul, aboriginal, bark painting, rarrk, wayarra, kuninjku, maningrida, loan -
Federation University Historical Collection
Book, The work of Charles A. Platt, 1913
Charles Platt was born in New York in 1861 and died in 1933. He studied art at the National Academy of Design. In 1880, Charles went to Paris to study landscape painting and, while there, he travelled to Italy with his brother. Though he was influenced by Italian detailing, his designs were not copies of Italian gardens He was known as an architect and illustrator not as a garden designer. In 1880, he trained as an etcher with Stephen Parrish in Gloucester, Massachusetts. He also trained at the National Academy of Design and the Art Students League in New York and later in Paris with Gustave Boulanger and Jules Joseph Lefebvre at the Académie Julian. Charles exhibited his paintings and etchings and gained his first audience in Paris Salon of 1885. Betweem 1880 – 1890 , he made hundreds of etchings of architecture and landscapes. In 1900, Charles received a bronze medal at the Paris Exposition Universelle. In 1907 he designed a townhouse for Sara Delano Roosevelt on East 65th Street in New York. Eleanor Roosevelt called Charles A. Platt "an architect of great taste" who with the townhouse had "made the most of every inch of space." and in 1918, he designed the Freer Art Gallery in Washington. Book, Hard brown Cover. Title on the spine "The work of Charles A. Platt". Manufactural details on spine. Page no. 181. Black & white plates and plans. Stamped on page 43, 93, 123, 135, 161, 171"Picton Hopkins & Sons PTY.LTD"architecture design, domestic architecture, designs and plans, landscape gardening -
Federation University Historical Collection
Book, The Work of Dwight James Baum, 1927 (exact)
Dwight James Baum is an American architect. He was born in 1886 in Newville, New York. As a young man, Baum moved to Syracuse. In 1909, he graduated from Syracuse University with an architecture degree. He worked for Boring and Tilton and Sanford White which are well known Architecture firms in America. Around 1912, he started his own residential design firm. During the 1920s, Baum designed a significant buildings and several houses in Sarasota, Tampa, Terrace, Temple and Florida all in the Mediterranean Revival Style such as the Ringlings dubbed Cà d'Zan, which is now known as the John and Mable Ringling Museum of Art. In 1923-1924, he also designed Sunset Hill for Mrs. Eugene D. Stocker at Warren, New York which was listed on the National Register of Historic Places in 2007. During the Depression Baum became involved with Good Housekeeping Magazine as consulting architect, and as designer of their building exhibit at the 1933 Chicago World's Fair. His later work includes Hendricks Memorial Chapel at Syracuse University, with John Russell Pope in 1929–1930 and the pedestal for V. Renzo Baldi's statue of Columbus in the city's Columbus Circle. Dwight James Baum died in 1939. Book with large blue hard cover. Title is written on the front cover and the spine in gold. Manufacturer's logo is written on front cover in gold. The book includes index, preface and an introduction. black and white illustrations, plates and floor planes of the architect's work such as Ca d Zan, the fantastical Venetian Gothic waterfront palace of John and Mable Ringling in Sarasota, Florida and the stately Italianate house of Anthony Campagna in Riverdale, New York and more.architecture, architectural designs, art moderne, domestic designs, ca d zan -
Ringwood and District Historical Society
Document, Packet: Agricultural and Horticultural Shows - schedules, cuttings, notes etc 1897 - 1961
Miscellaneous Correspondence;; Cuttings;; Schedules 1971-1961 (Some missing);; 1897 - first show award.Packet includes: . Programme for Ringwood Show Society third Annual Show to be held on Friday and Saturday, 3rd and 4th April 1936. . Correspondence between Ringwood Show Society and Ringwood Borough Council in connection with the 1936 Ringwood Show. . Two typed pages about the fruit growing in the Ringwood district and the establishment of the Ringwood cool stores in the early 1900's. . Newspaper cuttings dated 1922 to 1964- Ringwood Horticultural Society shows and activities. . Ringwood Horticultural & Agricultural Society Schedule for the Annual Autumn Show March 11th, 1961. . Newspaper cuttings- Schedules for Ringwood Shows 1911, 1917, 1918, 1920, 1922, 1924, 1934, 1936, 1937. . First Show First Prize Award Certificate awarded to J. Hewish for Variety Vegetables exhibit. . Miscellaneous hand written notes by members on a variety of matters- early 1900's. -
Kew Historical Society Inc
Plan, Melbourne & Metropolitan Board of Works : Borough of Kew : Detail Plan No.1574, 1905
The Melbourne and Metropolitan Board of Works (MMBW) plans were produced from the 1890s to the 1950s. They were crucial to the design and development of Melbourne's sewerage and drainage system. The plans, at a scale of 40 feet to 1 inch (1:480), provide a detailed historical record of Melbourne streetscapes and environmental features. Each plan covers one or two street blocks (roughly six streets), showing details of buildings, including garden layouts and ownership boundaries, and features such as laneways, drains, bridges, parks, municipal boundaries and other prominent landmarks as they existed at the time each plan was produced. (Source: State Library of Victoria)This plan forms part of a large group of MMBW plans and maps that was donated to the Society by the Mr Poulter, City Engineer of the City of Kew in 1989. Within this collection, thirty-five hand-coloured plans, backed with linen, are of statewide significance as they include annotations that provide details of construction materials used in buildings in the first decade of the 20th century as well as additional information about land ownership and usage. The copies in the Public Record Office Victoria and the State Library of Victoria are monochrome versions which do not denote building materials so that the maps in this collection are invaluable and unique tools for researchers and heritage consultants. A number of the plans are not held in the collection of the State Library of Victoria so they have the additional attribute of rarity.Original survey plan, issued by the MMBW to a contractor with responsibility for constructing sewers in the area identified on the plan within the Borough of Kew. The plan was at some stage hand-coloured, possibly by the contractor, but more likely by officers working in the Engineering Department of the Borough and later Town, then City of Kew. The hand-coloured sections of buildings on the plan were used to denote masonry or brick constructions (pink), weatherboard constructions (yellow), and public buildings (grey). This plan shows several very large houses, particularly along Glenferrie Road, and the area now occupied by Ruyton Girls’ School. ‘Tarring’ (incorrectly spelled here as ‘Karring’) was built for Henry Henty in 1872, on part of his original allotment of 20 acres, and ‘Mount View’, which retains its original building and the fountain in the front garden, is part of Ruyton’s Junior School. The most significant change to Tarring and its grounds since 1903, involve the removal of a number of the outbuildings, including a Burmese temple, bought by Henty from the Burmese Exhibit at the Great Exhibition of 1880. It is shown on the plan as a summerhouse. The two-storey mansion, on the corner of Glenferrie Road and Wellington Street, was built in 1891 by leading architect Alfred White as his own home. Having an initial N.A.V. of £160, the house was purchased by a warehouseman Henry Lister, by 1900, when the N.A.V. was recorded at £111. By the turn of the century the house was known as ‘Comaques’. By contrast, much smaller houses are shown in Scott and Byron Streets, including a tiny Mission Hall in Byron Street, which belonged to the Anglican Church from at least 1903 to 1917.melbourne and metropolitan board of works, detail plans, maps - borough of kew, mmbw 1574, cartography -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Tool - Farm Machinery, Horse-drawn Plough Potato Digger, c1900
Circa late 1800s early 1900s a horse-drawn plough, potato digger, is one example of the implements that were widely used by early market gardeners in the Shire of Moorabbin. The flat plate, seen to the right of the photo, dug down into the ground below the potatoes and "scooped" them up. Behind the plate, two driving chains on cogs, (these chains are missing from our exhibit), then "rocked' the dug potatoes to loosen the soil from the "spuds". The potatoes were then harvested by hand. Very large tracts of land in the Shire of Moorabbin were planted with potatoes. Harvesting commenced in October, into November and on into December. Potatoes were a necessary food staple. The market gardeners were always in a rush to be first to get their potatoes to market, and hence the best price. Some market gardeners were so keen to be the first to market, (and get the most money), that they dug their potatoes "green" (or new). The only downside of this practice was that these early potatoes had to be handled with extreme care as their skins were very loose, and came off easily - so decreasing their profits.As well as taking their produce to the Melbourne and St Kilda markets, they also sent produce off to Sydney markets. It is interesting to note that a group of Chinese market gardeners were the first to access the Sydney market. .Following the 'Dendy's Special Survey' 1841 and the Crown Land Sale of 1852, land allotments were sold to pioneer settlers who established market gardens in the area of Moorabbin Shire. During the 1850s gold-rush population boom the number of market gardeners increased significantly spreading throughout the Moorabbin Shire. Potatoes were considered a staple foodstuff, so crops were regularly sown throughout the whole Moorabbin area. Circa late 1800s early 1900s. A horse-drawn plough potato digger is an example of the machines used by early market gardeners in Moorabbin Shiremelbourne, sydney, markets, vegetables, potato, dendy henry, st kilda, market gardeners, gold rush, moorabin, chinese gardeners, ploughs -
Federation University Art Collection
Ceramic - Artwork - Ceramics, Stoneware Bowl by Robin Welch, c1980, 1980
Robin WELCH (1936- ) Born Nuneaton, Warwickshire, England Robin Welch is one of the most highly respected contemporary British potters. The full range of his work includes large vessels with related paintings, fine drawings, and distinctive bowls and vases which explore colour, surface texture, form, detail of edge, and line. Initially studying at Penzance School of Art and the Central School of Art, London Robin Welch then worked part-time at the Leach Pottery between 1953 and 1959 before opening his own pottery in London's west end (1960 to 1962). After a couple of years of world travel, including working in Australia from 1962 to1965 helping Ian Sprague set up his Mungeribar Pottery and exhibiting in Melbourne, Robin Welch returned to England setting up Stadbroke Pottery in Eye, Suffolk in 1965. This work is part of the Jan Feder Memorial Ceramics Collection. Jan Feder was an alumna of the Gippsland Campus who studied ceramics on the campus. She passed away in the mid 1980s. Her student peers raised funds to buy ceramic works in her memory. They bought works from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught there.Stoneware bowl with single flange. White glaze with copper tint. Dry black glaze underneath and airbrushed lustre banding. Robin Welch stamped on base.ceramics, robin welch, jan feder memorial ceramics collection, jan feder, gippsland campus, stadbroke pottery, mungeribar pottery -
Federation University Art Collection
Ceramic, Raku Fired Bowl with White Crackle Glaze by Robin Welch, 1980
Robin WELCH (1936- ) Born Nuneaton, Warwickshire, England Robin Welch is one of the most highly respected contemporary British potters. The full range of his work includes large vessels with related paintings, fine drawings, and distinctive bowls and vases which explore colour, surface texture, form, detail of edge, and line. Initially studying at Penzance School of Art and the Central School of Art, London Robin Welch then worked part-time at the Leach Pottery between 1953 and 1959 before opening his own pottery in London's west end (1960 to 1962). After a couple of years of world travel, including working in Australia from 1962 to1965 helping Ian Sprague set up his Mungeribar Pottery and exhibiting in Melbourne, Robin Welch returned to England setting up Stadbroke Pottery in Eye, Suffolk in 1965. This work is part of the Jan Feder Memorial Ceramics Collection. Jan Feder was an alumna of the Gippsland Campus who studied ceramics on the campus. She passed away in the mid 1980s. Her student peers raised funds to buy ceramic works in her memory. They bought works from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught there.Raku Fired stoneware bowl with White Crackle Glaze by Robin Welch Robin Welch stamped on baserobin welch, ceramics, jan feder memorial ceramics collection, gippsland campus -
Puffing Billy Railway
Blackstone Oil Engine, 6 November 1908
8HP Blackstone Lamps Start Oil Engine engine number 71076 Engine Details Maximum operating RPM of 240. Fitted with a 3'9" Flywheel Tested on the 6th of November 1908. Shipped to Cluter buck South Australia for installation on concrete base. Recovered and restored during the 80's in South Australia Purchased privately in 2013 in Tailem Bend South Australia and transported to Victoria. Currently on loan to the Puffing Billy Museum at Menzies Creek as an operating exhibit. Blackstone & Co. was a farm implement maker at Stamford, Lincolnshire, United Kingdom. In 1896 they built lamp start oil engines. The Lamp or hot-bulb engine (also hotbulb or heavy-oil engine) is a type of internal combustion engine. It is an engine in which fuel is ignited by being brought into contact with a red-hot metal surface inside a bulb, followed by the introduction of air (oxygen) compressed into the hot-bulb chamber by the rising piston. There is some ignition when the fuel is introduced, but it quickly uses up the available oxygen in the bulb. Vigorous ignition takes place only when sufficient oxygen is supplied to the hot-bulb chamber on the compression stroke of the engine. Most hot-bulb engines were produced as one-cylinder, low-speed two-stroke crankcase scavenged units Historic - Industrial - single cylinder, horizontal, 4 stroke, hot-bulb ignition oil engine Blackstone 8HP Oil Engine made from steel, wrought iron and brassOval Plate with Black Stones and Clutter Buck Brass Plaque engine number 71076blackstone, oil engine, clutter buck, black stone, puffing billy, hit and miss, engine, blackstone & co -
Federation University Art Collection
Drawing - Artwork, 'Resilience' by Xersa
XERSA (1952- ) Born as Christine Limb in Daylesford, Victoria An artist with over 40 years of experience in drawing, painting and sculpture installation, who studied Fine Art at Ballarat Institute of Advanced Education (now Federation University) from 1969 to 1970, and Fine Art and Industrial Design at RMIT from 1971-1974. During the 1970s Xersa worked as a textile designer and then established a design studio in Melbourne. Xersa has been a finalist and awarded in important Australian art awards including the Dobell Prize for Drawing, and internationally exhibited contemporary artist with experience of over 20 solo and 40 group exhibitions in major galleries and Museums alongside other significant artists. My recent work is figurative, thematic of resilience and regeneration which relates to world-wide natural and non natural events that affect our health recalling our strength and determination. The allurement of drawing began before crawling and ever since then, kept vision of consistent excellence to becoming the best and to draw better than Picasso and Matisse. I hereby thank everyone for the rewarding experiences you have imparted to me so far, each mark made by my hand has the memory of you all within them. May there be much more.Drawing mounted onto perspexxersa, available, alumni, portrait