mechanics institutes - victoria, mechanics institutes - history

Catherine Clark, Centre of Excellence for Students who are Deaf and hard of hearing, Northern Melbourne Institute of TAFE; A National Vocational Education and Training Research and Evaluation Program Report 2007Green Cover, 29.5cmHx21cmW, 43 pagescatherine clark,

One of the most comprehensive studies of mechanics institute in Victoria. Beginning from 1839 to the present. Arguably Victoria's oldest and most influential surviving institution. History of approx.1,000 institutes including building status, social adult education, library history, heritage listings, plus thematic essays about the Mechanic Institute movement and development. Includes: role of woman, architecture, schools of art and design and schools of mines. This is the most comprehensive study of mechanics institute in Victoria.History of approx.1,000 institutes including building status, social adult education, library history, heritage listings, plus thematic essays about the Mechanic Institute movement and development. Includes: role of woman, architecture, schools of art and design and schools of mines. This is the most comprehensive study of mechanics institute in Victoria.Signed by co-author Ken James on title page.libraries, educational and research establishments, mechanics institutes, surrey hall, (mr) ken james, (ms) pam baragwanath

John DERMER (1949- ) Born Melbourne, Victoria John Dermer studied Ceramics at the Royal Melbourne Institute of Technology and Hawthorne State College (Diploma of Education), before working in potteries in England. Upon his return to Australia he established "Kirby's Flat Pottery" studio at Yackandandah, Victoria in 1974. John is proudly a product of the Leach/Hamada movement in ceramics. He sees this as a tradition that for him represents the essence of working with clay. The lines are pure and balanced while the forms are honest, proud and passionate. Yars of research and experience in salt glazing were rewarded in 2006 when John Dermerwon the highly prestigious Saltzbrand Keramik International Award in Koblenz, Germany. Another avenue of ceramics for which John is renowned is in the field of terra sigillata. This passion had its foundation back in 1987 when he received a major commission from Romaldo Giurgola and Pamille Berg for the new Parliament House in Canberra. During the completion of these massive pieces for the Prime Minister’s suite and Cabinet entry he had to invent and develop methods for decorating and firing the pots successfully. The completed pieces are still regarded by John as some of his finest works. John Dermer was a visiting lecturer to the Gippsland Centre of Art and Design (GCAD). 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.Salt glazed stoneware pot 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.Signed on base 'John Dermer'john dermer, ceramics, artwork, artists, gippsland campus, jan feder memorial ceramics collection, salt glaze, kirby's flat pottery, stoneware

David Frazer (1966- ) David Frazer is an Australian artist who works in painting, wood engraving, etching, lithography and bronze. Born in Victoria, David Frazer graduated from the Phillip Institute of Technology, Melbourne with a Fine Art degree specialising in painting. In 1996 he achieved an Honours degree from Monash University specialising in Printmaking and in 2000, gained his Master of Arts. In 2002, David was awarded the Keith Wingrove Bookplate Design Award and in 2007, he was a major prizewinner at the International Print Biennial in Guanlan, China and a featured Australian artist on the ABC’s documentary series ‘Artist at Work’. (http://www.goldfieldsprintmakers.com/david-frazer.html) Art historian Robert C. Littlewood is a Private Press publisher who utilises his skills as a fine art photographer, a video producer, researcher and writer to document the lives and achievements of Australian artists who create (or created) original graphic prints. Littlewood is President of the Australian Bookplate Society and a Trustee of the Keith Wingrove Memorial Trust which administers the world's richest and Australia’s only Bookplate design award.Bookplate for Tony Irvinng featuring the Yarra River and silos at Richmond, Victoria. bookplate, tony irving, david frazer, nylex clock, yarra river, silos, richmond

Deborah KLEIN (1951- ) Born Melbourne, Victorian Deborah Klein grew up in the inner southern suburb of St. Kilda and lived and worked in London from 1973 - 1980. The experience of living in both of these places was to have a significant and enduring influence on her work. She gained degree and post degree qualifications from Chisholm Institute of Technology, Melbourne and Gippsland College of Advanced Education, and a Research MA from Monash University, Gippsland. Since 1988 Deborah Klein has held regular solo exhibitions and participated in group exhibitions in Australia and internationally. Her work is represented in public and university museum collections throughout Australia. This work was exhibited as part of "Parallel Prints", a Prints project which presents the same exhibition simultaneously in New Zealand, at Art at Wharepuke and at a gallery in another part of the world. Eleven Australian artists were invited to join New Zealand-based printmaker Mark Graver to contribute to a portfolio that will be shown simultaneously at Art at Wharepuke, New Zealand and the Art Gallery of Ballarat, Victoria. Using the uniqueness of the reproducible print allows for the same works to be viewed at the same time on opposite sides of the world. This highlights the democratic nature of printmaking and questions the aura of the unique. Which venue is showing the 'real' work? Which the reproduction? The Australian artists showing alongside Mark Graver are James Pasakos, Bruno Leti, Martin King, David Frazer, John Neeson, Antonietta Covino-Beehre, Deborah Klein, Deborah Williams, Melissa Smith, Jodi Heffernan and Susanna Castleden. The original concept, Parallel Prints NZ-UK in 2013, included invited artists from the UK and New Zealand. It featured the work of twelve diverse artists presented in a portfolio set. Each artist contributed one work on 300 x 300 mm paper in an edition of thirty-six. Part of the concept behind the project was to donate twelve of the portfolio sets to international collections. Institutions that have accepted a portfolio include the Victoria & Albert Museum and The Ashmolean Museum in the UK, the Jinling Museum of Art in Nanjing, China, and the Whangarei Art Museum, in New Zealand. In 2015 a portfolio set was donated to the Federation University Art Collection. 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.Framed, handcoloured linocut depicting a butterly with a female head with braided hair.Edition 2/36artist, artwork, deborah klein, klein, butterfly, insect, animal, printmaking, linocut, parallel prints, alumni

David FRAZER (1966- ) Born Foster, Victoria, Australia David Frazer works in painting, wood engraving, etching, lithography and bronze. He studied a B.A. Fine Arts (Painting) at Phillip Institute of Technology, followed by a Diploma of Education (Secondary- Art/Craft) at Latrobe University in 1991. He completed an Honours Degree in Fine Art (Printmaking (at Monash University in 1996, and between 1998 and 2000 Frazer undertook a Master of Arts (Visual Arts) by research: “Pastoral Melancholia”, at Monash University. One of Austalia's foremost printmakers David Frazer's highly detailed woodblock and linocut prints often explore the emotional and fragile state of the human condition. His work offers a nostalgic image of Australia through its examinations of landscape, Australian buildings, sheds, and itinerant travellers. He has held seven solo exhibitions between 1996-2006 in Melbourne, Sydney and a survey show curated by the Horsham Gallery, which toured Victorian regional galleries from 2004-2005. David Frazer’s work was seen in 37 group exhibitions between 1996-2006 including the 5th British International Miniature Print Exhibition in the UK, in the 2003. He more recently held a solo exhibition with Rebecca Hossack in London 2011. (http://www.thestockrooms.com/, accessed 06/03/2015) David was awarded the Keith Wingrove Bookplate Design and in 2002.Framed limited edition linocut on paper.lls '2/36' lc 'The Text Message (study)' lrs 'D. Frazer 15'artist, artwork, david frazer, parallel prints, printmaking, linocut

Articles in annual report include: Office bearers of the institute/officers, President's report - 100 years, Residence nursery and school for blind children - in 1866 first nine blind children were accommodated in temporary premises in Commercial Road Prahran, the budget was $822 pounds, now the facility in Burwood can house 70 children and the, budget is $160,000, New found confidence after rehabilitation, Blind welfare work increases, Our factory now serves industry, Employ opportunities are widening, Our loyal auxiliaries and other supporters, What of the future, Income and expenditure, Where there's a will there's a way to help blind people. Events that occurred in 1966 : Millet broom making was discontinued and mat and industrial brush making and packing and assembly began, the Governor of Victoria and Lady Delacombe brought their dog to visit the children at the school, the Institute began two vital new projects - providing a residential geriatric facility and to establish the RVIB foundation for research and education.1 volume of print and illustrationsannual reports, royal victorian institute for the blind

Deborah KLEIN (1951- ) Born Melbourne Deborah Klein is an established Australian painter and printmaker who completed a Bachelor of Fine Art, Printmaking, Chisholm Institute of Technology, Melbourne from 1982-1984. She undertook a Graduate Diploma from the Gippsland Institute of Advanced Education from 1987 to 1988, and a Master of Arts, (Research), at Monash University, Gippsland Campus from 1995-1997. 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.Framed drawing. of a torso featuring a red velvet dress. art, artwork, deborah klein, klein, costume, alumni, available

Carole WILSON (1960- ) Born Canberra, Australia Carole Wilson undertook undergraduate studies at the Canberra School of Arts and Phillip Institute of Technology. She completed a Graduate Diploma in Education at the University of Ballarat in 1987, and a Doctor of Philosophy in 2000. She has chosen central motifs in her work, which she incorporates throughout a series. The urn has been a unifying motif in Wilson's map work and testifies to the way in which function drives form across cultures. Carole's work is held in many public collections including the National Gallery of Australia, the Powerhouse Museum, State Library of Victoria and a number of regional Victorian galleries. Her posters are in museum collections in Finland, Moscow and Poland. In 2001 Dr Wilson was awarded a Doctor of Philosophy (Visual Art) from the University of Ballarat (Now Federation University). She graduated with a Graduate Diploma in Education from University of Ballarat in 1987, and a Diploma of Art from the Phillip Institute of Technology (RMIT) in 1984. Carole Wilson lectures at Federation University Australia: 2010- Senior Lecturer in Visual Arts, Honours and Research Degrees Co-ordinator 2009-2011 Lecturer in Studio Practice and Postgraduate Co-ordinator 1999-2008 Lecturer in Visual Arts (Sessional) 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. Donated through the Australian Government's Cultural Gifts Program by Anne M. Drum, 2011art, artwork, carole wilson, maps, urn, alumni, available, staffmember

Carole WILSON (1960- ) Born Canberra, Australia Carole Wilson undertook undergraduate studies at the Canberra School of Arts and Phillip Institute of Technology. She completed a Graduate Diploma in Education at the University of Ballarat in 1987, and a Doctor of Philosophy in 2000. She has chosen central motifs in her work, which she incorporates throughout a series. The urn has been a unifying motif in Wilson's map work and testifies to the way in which function drives form across cultures. Carole's work is held in many public collections including the National Gallery of Australia, the Powerhouse Museum, State Library of Victoria and a number of regional Victorian galleries. Her posters are in museum collections in Finland, Moscow and Poland. In 2001 Dr Wilson was awarded a Doctor of Philosophy (Visual Art) from the University of Ballarat (Now Federation University). She graduated with a Graduate Diploma in Education from University of Ballarat in 1987, and a Diploma of Art from the Phillip Institute of Technology (RMIT) in 1984. Carole Wilson lectures at Federation University Australia: 2010- Senior Lecturer in Visual Arts, Honours and Research Degrees Co-ordinator 2009-2011 Lecturer in Studio Practice and Postgraduate Co-ordinator 1999-2008 Lecturer in Visual Arts (Sessional) 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. Carole Wilson lectures at Federation University Australia: Framed collograph by Carole Wilson. art, artwork, wilson, carole wilson, available

Deborah KLEIN (1951- ) Born Melbourne Deborah Klein is an established Australian painter and printmaker who completed a Bachelor of Fine Art, Printmaking, Chisholm Institute of Technology, Melbourne from 1982-1984. She undertook a Graduate Diploma from the Gippsland Institute of Advanced Education from 1987 to 1988, and a Master of Arts, (Research), at Monash University, Gippsland Campus from 1995-1997. Klein often explores how women have been forgotten or erased in art and history. Imagery of braided hair and materials related to the stereotypically ‘female’ spheres of handcrafts and weaving are often features of her work. 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.Framed limited edition print featuring long hair braids.art, artwork, klein, deborah klein, printmaking, hair, alumni, available, braid

David FRAZER (1966- ) Born Foster, Victoria, Australia David Frazer works in painting, wood engraving, etching, lithography and bronze. He studied a B.A. Fine Arts (Painting) at Phillip Institute of Technology, followed by a Diploma of Education (Secondary- Art/Craft) at Latrobe University in 1991. He completed an Honours Degree in Fine Art (Printmaking (at Monash University in 1996, and between 1998 and 2000 Frazer undertook a Master of Arts (Visual Arts) by research: “Pastoral Melancholia”, at Monash University. One of Austalia's foremost printmakers David Frazer's highly detailed woodblock and linocut prints often explore the emotional and fragile state of the human condition. His work offers a nostalgic image of Australia through its examinations of landscape, Australian buildings, sheds, and itinerant travellers. He has held seven solo exhibitions between 1996-2006 in Melbourne, Sydney and a survey show curated by the Horsham Gallery, which toured Victorian regional galleries from 2004-2005. David Frazer’s work was seen in 37 group exhibitions between 1996-2006 including the 5th British International Miniature Print Exhibition in the UK, in the 2003. He more recently held a solo exhibition with Rebecca Hossack in London 2011. (http://www.thestockrooms.com/, accessed 06/03/2015) David was awarded the Keith Wingrove Bookplate Design and in 2002. These two wood engravings are the subject of the forthcoming Private Press book: ‘The Bookplates of David Frazer’ written by Robert C. Littlewood, The Lytlewode Press, Chateau Bosgouet, Normandie, France, 2014/2015. Two limited edition prints by David Frazer using the wood engraving technique. They have been framed together. .1) Messenger Wood Engraving Plate 10.0cm x 7.5cm Paper 29.0cm x 19.3cm Edition: 32/40 .2) Woe Wood Engraving Plate 10.0cm x 7.5cm Paper 29.0cm x 19.3cm Edition: 32/40 Donated through the Australian Government Cultural Gifts Programme by Katherine N. Littlewood, 2014artist, artwork, frazer, david frazer, wood engraving, framed bookplate, printmaking, bookplates, churchill, gippsland campus

"In my woodblock print I have focused on the architectrure, streetscape and layout of the city. I am itrigued with teh organisation of cities and in teh creation of my own image. In this work I have almalgamated site drawings of buildings, streets and various structures to create a fish eye viewof the inner west of Sydney. By creating such a cityscape I form an historical document and record of the specific place."Anne STARLING (1967 - ) Born Sydney, New South Wales A graduate of the City Art Institute/UNSW College of Fine Arts, Anne Starling completed a Master of Art in 1994 and Master of Fine Arts by Research in 2012. Human interaction with the urban and industrial landscape is central to the work of Anne Starling. She focuses on the neglect that has occurred due to misuse and exploitation by industrial manufacturers, and the social and ecological structures of areas surrounding of Rhodes in Sydney, Fremantle in Western Australia and Port Kembla in New South Wales.Through relief and drypoint prints she examine changes that occur in this environment, presenting a commentary on the degradation and pollution of land by industry and the surrounding urban landscape. 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.Framed black and white relief print (woodblock) representing a collage of various Sydney architecture. art, artwork, anne starling, printmaking, woodblock, print council of australia, sydney, architecture, bridge, cityscape

The Optacon OPtical-to-TActile-CONverter is a compact, portable reading aid for the blind. It is about the size of a textbook, and weighs less than 2kg. It works by converting a printed image into a tactile image that a blind person can feel with one finger. After a period of training and practice, a blind person can use the Optacon to read ordinary books, magazines, newspapers, and other printed materials. The Optacon was developed after intensive research at Standford University, California, USA and was trialed by clients of the Royal Victorian Institute for the Blind (now part of Vision Australia) in 1973. It has three main sections: 1 a miniature camera, 2 an electronics section, and 3 a tactile stimulator array. The miniature camera, about the size of a pocket knife, is mounted in a housing that has rollers for easy movement along a line of print. The camera is connected to the electronics section by a lightweight cable. The electronics section and the tactile stimulator array are in the main chassis. The array consists of 144 tiny metal rods arranged in six vertical columns and 24 horizontal rows. Each of the rods can vibrate independently. The tips of these rods protrude through holes in a concave finger plate where the index finger is placed flat in order to read. These three components act together to convert the image of a printed letter or other shape into a pattern of vibrating rods, a tactile image of the letter or shape. The letter shape is tactually perceived as an image that moves from right to left on the finger, showing the left or leading edge of the letter first. Letters are felt sequentially rather than all at once, and the image should be kept moving. The Optacon converts a printed O into a tactile form that resembles a crater with a vibrating rim -- a completed circle. C would have a gap or opening on the right side of the curve. The letter F would be felt, sequentially, as a vertical line with two trailing horizontal lines. Because it can convert any ordinary printed image into a corresponding tactile image, the Optacon is not restricted to any special typestyle or language. The camera has a zoom lens that compensates for differences in the size of type. The standard Optacon lens can accommodate type sizes from 6 point to 20 point. With the optional F4A magnifier lens, type sizes as small as 4 point can be read. Powered by a rechargeable battery, and comes with its own battery charger. The battery is contained within the main chassis, and is not removable by the user. There are four basic controls on the Optacon: the Magnification Adjustment zoom button located on the camera section on the side opposite the rollers; and the On-Off switch, the Stimulator Intensity Adjustment knob, and the Threshold Adjustment knob located on the right side of the front panel. The Circuit Breaker protrudes from the right-hand wall inside the chassis compartment. From left to right when the back panel is facing you, are located: the jack for connecting the battery charger; the Battery Check button; the Normal-Invert switch; and the Input/Output I/O connector for use with the Visual Display, when using the Repeater Cable to connect two Optacons to one another or with other accessories. Designed not be removed from the leather case during normal operation, the On-Off switch is a slide switch located on the right side of the front panel. It slides up and snaps into place in the on position. 1 black with orange front, rectangular device in leather case assistive devices, audio equipment

Juli HAAS (26 April 1952- 02 March 2014) Born Melbourne Juli HAAS (1952-2013) Born Melbourne Juli Haas mainly produced watercolours, artist’s books and limited edition prints using the printmaking technique of Drypoint. She often explores the lives of everyday people with her work often portraying the darker side of human nature in an interior world filled with fantasy and absurdity. Themes throughout her work incorporate the use of childhood memory, place and a sense of personal history. Inspiration is derived from observing her own environment, which is then developed into a portrayal of the absurdity and drama of everyday human situations. Haas applies layers of intense and vibrant colour, which also serves to reinforce the narrative element that runs through the work. The psychological drama that informs this narrative exposes the darker side of life, expressing elements of anger, violence and isolation. Juli Haas obtained the following qualifications: * 1994-95 Master of Arts (Research). Monash University, Victoria * 1989-90 Graduate Diploma of Arts (Visual Arts), Monash University, Victoria * 1987-89 Bachelor Of Arts (Visual Arts), Gippsland Institute of Advanced Education, Victoria (now Federation University Australia) * 1971-74 Fine Arts, Caulfield Institute Of Technology, Victoria. Haas exhibited in most states of Australia and participated in numerous group shows. She is represented in most major Australian collections including the National Gallery of Australia. Career highlights include winning the Sir John Sulman prize in 1995 at the Art Gallery of NSW and in 1994 and 1997 the Martin Hanson Memorial Works on Paper Prize. In 2008 her artist’s book A Wife Of Silver was acquired for the Public Art Collection of the Arts Centre Melbourne as part of the Maxwell and Merle Silver Bequest. Career highlights include winning the Sir John Sulman prize in 1995; and in 1994 and 1997 the Martin Hanson Memorial Works on Paper Prize. Framed limited etching by Julie Haas. juli haas, gippsland campus, churchill, gippsland institute of advanced education, alumni

"I am an Australian of German parents born in Persia. I was taught by Peter Rushforth, with a very strong Japanese influence. My work attempts to incorporate these four elements of my history. For form, my influence comes from Art Nouveau, or Jugendstil as it is called in Germany. Techniques are informed by pottery from Japan, China, Korea and Germany. My colours are inspired by the Australian landscape. Using the language of woodfiring, I create a personal vocabulary with new subjects, grammar and syntax, which make each pot a one-off object containing all my diverse influences." (Roswitha Wulff)Roswitha WULFF (1941- ) Born Tabrize, Iran. Arrived Austrqalia c1949 Roswitha Wulff spent her early childhood with her mother, potter Helma Klett, in Germany. In 1964, she obtained a ceramics certificate from the East Sydney Technical College. From 1964-65, she worked with Robin Welch and Ian Sprague at Sprague's Mungeribar Pottery in Upper Beaconsfield, VIC. In 1966 she worked at the Sturt Pottery in Mittagong, NSW under Les Blakebrough. Between 1967 and 1969 Roswitha Wulff travelled overseas, spending 6 monthe with Robin Welch after his return to England and 9 months as a full-time thrower at Briglin Pottery, London, as well as working in potteries in Denmark and Germany. From 1969-70, she worked in North-West Pakistan as a research scholar for the Smithonian Institute and the University of NSW. Returning to Australia in 1970, she set up a workshop in Paddington, NSW, with the help of an Australia Council grant and taught part-time at the East Sydney Technical College and the Willoughby Workshop Art Centre. Since then she has been a lecturer and Head of Ceramics in many institutions, including the National Art School. In the 1990s she moved her studio to Botany Bay, NSW.. While working with the vessel form, she sees her pots as abstract landscapes. Recently she has also been working with wall tiles. During a residency at the Canberra School of Art in 2002, she developed tiles that looked like woodfired pillows with soft rounded rims. In 2007, she used such tiles to create a mural commemorating the Sesquicentenary of St Vincent's Hospital in Paddington. Woodfired stoneware bowl with flay ashSigned on baseroswitha wulff, jan feder, jan feder memorial ceramics collection, woodfire, ceramics, gippsland campus, botany bay studio pottery

Stirrer, used in Optical Glass work, Hartung & associates, 1941 Ernst Johannes Hartung was a chemist and astronomer. Educated at the University of Melbourne (BSc 1913, DSc 1919), he became lecturer in 1919, associate professor in 1924, and succeeded Rivett as chair of chemistry in 1928, remaining in this position until 1953. Hartung?s lecturing style surged with enthusiasm and he employed the use of screen projections to demonstrate chemical phenomena to large undergraduate classes. In 1935 he recorded Brownian movement in colloidal solutions on 35 mm cinefilm, which was later copied onto 16 mm film for the Eastman Kodak Co. World Science Library. This can be viewed in the Chemistry laboratory. He researched the photo decomposition of silver halides, and was awarded the David Syme Prize in 1926. He devoted time to the design and construction of a large, new chemistry building for the School of Chemistry (built 1938?1939). During World War II he was approached by Professor Thomas Laby, chairman of the Optical Munitions Panel, to chair the advisory committee on optical materials, to produce high quality optical glass in Australia. This was successful, with large-scale production achieved within ten months at a reasonable cost. Hartung served three terms as general President of the (Royal) Australian Chemical Institute, was an ex-officio councillor of the Council for Scientific and Industrial Research, and a Trustee of the Museum of Applied Science (now part of Museum Victoria).

(Sir) David Orme Masson was Professor of Chemistry at the University of Melbourne from 1886 to1923. As well as being a distinguished teacher and researcher, he contributed significantly to Australian scientific and public life, being instrumental in the establishment and governance of many important bodies including the CSIRO. Masson supported Antarctic research for 25 years, beginning with Douglas Mawson's expedition of 1911. Born in England and receiving an MA, BSc and DSc from the University of Edinburgh, he was a gifted, elegant and disciplined lecturer and a researcher of substance. His research work included the theory of solutions, from which emerged the term 'critical solution temperature'; the periodic classification of the elements; and the velocity of migration of ions in solutions. Much of his research was done in collaboration with talented students such as David Rivett and his own son Irvine Masson. Masson was knighted in 1923. He is commemorated by the Masson Theatre and Masson Road at the University of Melbourne; a mountain range and island in Antarctica; a portrait painting by William McInnes in the foyer of the School of Chemistry; the Masson lectureship from the Australian National Research Council; and the Masson memorial scholarship from the Royal Australian Chemical Institute.Set of rare gases in a box coming from Irvine Masson to his father.

An original Kerr-Grant Microbalance, modified by E.J.Hartung This balance was invented in the chemistry department by Bertram Dillon Steele, later first Professor of Chemistry at the University of Queensland 1910-1930, in collaboration with Professor Kerr Grant, Physics. The design was widely used by other chemists, including Masson's mentor, Professor Ramsay, working in London on newly discovered rare gases (especially Radon), and Professor Hartung in Melbourne, investigating the chemistry of the decomposition of silver salts in photographic processes. The principle of the microbalance was to measure the change in density of a gas by the shift in the balancing beam due to a change in pressure of the gas in the balance case. The quartz balancing beam was made by Bertram Steele who was particularly skilled in glassblowing. A quartz beam is the beam of the Aston microbalance based on the Steele/Grant instrument, and described by F.W. Aston, the inventor of the mass spectrometer. The bulb at one end of the beam contained a fixed amount of air, so that a change in the pressure of gas in the balance case changed the buoyancy of the beam, yielding a displacement in the beam which could be measured. By this means, differences in weight of about 10 nanogram could be measured, in amounts of up to 0.1 gram. Such differences are significant the increase in weight of a metal sample due to surface oxidation (Steele's interest) in the weight loss due to radioactive decay of Radium (Ramsay's work), and in the estimates of density change due to the isotopic distribution of Neon (Aston). Ernst Johannes Hartung was a chemist and astronomer. Educated at the University of Melbourne (BSc 1913, DSc 1919), he became lecturer in 1919, associate professor in 1924, and succeeded Rivett as chair of chemistry in 1928, remaining in this position until 1953. Hartung?s lecturing style surged with enthusiasm and he employed the use of screen projections to demonstrate chemical phenomena to large undergraduate classes. In 1935 he recorded Brownian movement in colloidal solutions on 35 mm cinefilm, which was later copied onto 16 mm film for the Eastman Kodak Co. World Science Library. This can be viewed in the Chemistry laboratory. He researched the photo decomposition of silver halides, and was awarded the David Syme Prize in 1926. He devoted time to the design and construction of a large, new chemistry building for the School of Chemistry (built 1938?1939). During World War II he was approached by Professor Thomas Laby, chairman of the Optical Munitions Panel, to chair the advisory committee on optical materials, to produce high quality optical glass in Australia. This was successful, with large-scale production achieved within ten months at a reasonable cost. Hartung served three terms as general President of the (Royal) Australian Chemical Institute, was an ex-officio councillor of the Council for Scientific and Industrial Research, and a Trustee of the Museum of Applied Science (now part of Museum Victoria).An original Kerr-Grant Microbalance, modified by E.J. Hartung.

Large dark wooden one fits the dish ordered by D.O.Masson shortly after arrival in Melbourne. (Sir) David Orme Masson was Professor of Chemistry at the University of Melbourne from 1886 to1923. As well as being a distinguished teacher and researcher, he contributed significantly to Australian scientific and public life, being instrumental in the establishment and governance of many important bodies including the CSIRO. Masson supported Antarctic research for 25 years, beginning with Douglas Mawson?s expedition of 1911. Born in England and receiving an MA, BSc and DSc from the University of Edinburgh, he was a gifted, elegant and disciplined lecturer and a researcher of substance. His research work included the theory of solutions, from which emerged the term ?critical solution temperature?; the periodic classification of the elements; and the velocity of migration of ions in solutions. Much of his research was done in collaboration with talented students such as David Rivett and his own son Irvine Masson. Masson was knighted in 1923. He is commemorated by the Masson Theatre and Masson Road at the University of Melbourne; a mountain range and island in Antarctica; a portrait painting by William McInnes in the foyer of the School of Chemistry; the Masson lectureship from the Australian National Research Council; and the Masson memorial scholarship from the Royal Australian Chemical Institute.Wooden containers (formers)

Stages in development of optical glass. Very early experiments by E.J. Hartung. Ernst Johannes Hartung was a chemist and astronomer. Educated at the University of Melbourne (BSc 1913, DSc 1919), he became lecturer in 1919, associate professor in 1924, and succeeded Rivett as chair of chemistry in 1928, remaining in this position until 1953. Hartung?s lecturing style surged with enthusiasm and he employed the use of screen projections to demonstrate chemical phenomena to large undergraduate classes. In 1935 he recorded Brownian movement in colloidal solutions on 35 mm cinefilm, which was later copied onto 16 mm film for the Eastman Kodak Co. World Science Library. This can be viewed in the Chemistry laboratory. He researched the photo decomposition of silver halides, and was awarded the David Syme Prize in 1926. He devoted time to the design and construction of a large, new chemistry building for the School of Chemistry (built 1938?1939). During World War II he was approached by Professor Thomas Laby, chairman of the Optical Munitions Panel, to chair the advisory committee on optical materials, to produce high quality optical glass in Australia. This was successful, with large-scale production achieved within ten months at a reasonable cost. Hartung served three terms as general President of the (Royal) Australian Chemical Institute, was an ex-officio councillor of the Council for Scientific and Industrial Research, and a Trustee of the Museum of Applied Science (now part of Museum Victoria).Optical glass