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Melbourne Legacy
Badge, Legacy Appeal Badge - $25
An example of badges issued by Legacy for fundraising during the Legacy Appeal and Badge Week. The donation value was $25. The date is not known. There are two of these in the collection. The badge of Legacy is the Torch and Wreath of Laurel. The Torch signifies the undying flame of service and sacrifice of those who gave their lives for their country. The Wreath of Laurel is the symbol of our remembrance of them. Example of Legacy badges that were sold up to raise money for Legacy's work. Legacy Appeal badge with the Legacy torch, it is gold with orange enamel around a torch with red enamel in the flame. On the reverse 'A J Parkes / $25'.legacy appeal, fundraising, badge week -
Tatura Irrigation & Wartime Camps Museum
Catalogue, 116th Annual Show Saturday 19 March 1994, 1994
Contains schedule of events for the show, including advertisements, rules and regulations, show categories.Small yellow cardboard bound printed catalogue. On front schedule, Tatura and Goulburn Valley A H & P Assn Inc 116th Annual Show, their logo, date of show and picture of family going to show.a h & p assn inc., tatura and goulburn valley a h & p assn inc., show catalogues -
Melbourne Tram Museum
Document - Research Notes, "Information searched at MMBW from 40' to 1 inch plans showing Essendon Tramways" & "A Women Drove the First Tram", c1958
Set of papers, handwritten concerning the history of Essendon electric system, track layouts, dimensions, field book notes, plans, sketches of Trackwork prepared by A H McC? - dated 28/8/1958. "Information searched at MMBW from 40' to 1 inch plans showing Essendon Tramways" Includes a copy of a newspaper cutting from The Age 11/10/1956, titled "A Women Drove the First Tram". Items 2027 to 2030 and 1309 copy 2 contained within box 72.3 in a brown folder marked "Historical Data regarding Essendon Tramways and their services to the City"trams, tramways, essendon, saltwater river, keilor rd, reports, essendon depot, nmetl, moonee ponds, mmbw, opening -
Geoffrey Kaye Museum of Anaesthetic History
Painting, portrait, Professor Michael J. Cousins, 2003
This is a portrait of Professor Michael Cousins in his role as Dean of the Faculty of Pain Medicine at ANZCA (1999 - 2002). The portrait was unveiled at a College ceremony/meeting on 30 July 2003. The portrait was commissioned by FPM to mark the Deanship of Prof Cousins. Gary Lee Gaston is an Australian visual artist who was born in 1938. He is a painter, teacher and sculptor. He has exhibited in Adelaide and is a fellow of the Royal South Australian Art Society.Professor Michael Cousins was instrumental in the establishment of the faculty of pain medicine and was its first Dean from 1999 - 2002.Oil on canvas painting of the Faculty of Pain Medicine Dean, Professor Michael Cousins set in a plain gold wooden frame.hand written on the reverse in black ink - 762 x 632 / VM24 OIL liNen •stamped on reverse in black ink: CENTRAL ARTISTS SUPPLIES / 45 Osmond Terrace / Norwood SA 5067 / Phone/Fax: 8364 2088 •hand written on reverse in black ink: GARY LEE-GASTON / O.A.M F.R.S.A.S.A. •hand written on reverse in balck ink: PROFESSOR COUSINS 2003 / A.M. MB BS MD (SYD.) FFPMANZCA. FANZCA. FRCA. •engraved onto brass plaque on front of frame: Professor Michael J. Cousins / Inaugural Dean / 1999 - 2002 •inscribed on lower right hand side of painting: artist's signatureprofessor michael cousins, faculty of pain medicine, gary lee gaston, royal south australian art society., commissioned portrait -
Clunes Museum
Photograph, C1926
IT IS ON PERMANENT LOAN FROM HEPBURN SHIRE COUNCIL.CR. W. J. CHAMPION WAS ELECTED COUNCILLOR TO CLUNES BOROUGH COUNCIL IN 1914 AND WAS MAYOR 1926-27. THE PHOTOGRAPH ORIGINALLY HUNG IN THE CLUNES TOWN HALL DURING HIS TERM AS MAYOR.PHOTOGRAPH OF CR. WILLIAM J. CHAMPION - FRAMED.CLUNES BOROUGH COUNCIL WILLIAM J. CHAMPION. ELECTED COUNCILLOR 12.10.1914. MAYOR 1926-27. HORNBY STUDIOS BALLARATlocal history, photography, photographs, councillors & officers -
Eltham District Historical Society Inc
Photograph, Steam locomotive J-521 with the Royal Train on the Wharf Spur line during a visit to Echuca by the new Governor of Victoria, His Excellency Sir Rohan Delacombe, c.May 1963
In this picture The Royal Train is passing through a railway crossing along the Wharf Spur line. The train has been shortened comprising steam locomotive J-521 and tender to which is attached the State car. The State car is in the design of the Spirit of Progress. George Coop advised that the occasion is the visit of the Governor of Victoria, Sir Rohan Delacombe to Echuca in 1963. Delacombe had replaced Sir Dallas Brooks in May 1963 who had departed for England on the liner Iberia,11 April 1963 (1963 'SIR DALLAS ON WAY TO U.K.', The Canberra Times (ACT : 1926 - 1995), 9 April, p. 9. , viewed 27 Jan 2020, http://nla.gov.au/nla.news-article104249252) George believes the Governor was doing a considerable formal train ride around the State and Echuca was on the schedule. The ‘platform’ was a special creation for such purposes, located on the wharf spur line that ran behind the Echuca Civic Centre. The large notice board commemorates the Queen’s visit on March 5th, 1954 for which the platform was initially built. From time to time it would get spruced up with pot plants, fresh paint and repaired hand rails for formal functions. George attended the Civic Reception held for the Governor. A picture of His Excellency Sir Rohan Delacombe, Governor of Victoria, and Lady Delacombe about to entrain at Spencer Street for a visit to western Victoria is available on page 4 of VICTORIAN RAILWAYS REPORT OF THE VICTORIAN RAILWAYS COMMISSIONERS FOR THE YEAR ENDED 30th JUNE, 1963. (http://www.victorianrailways.net/vr%20history/annual_reports/vrar1963.pdf) More information about the Victorian Railways Royal Train https://en.wikipedia.org/wiki/Victorian_Railways_Royal_Train State Car No. 5 https://www.pjv101.net/cd/pages/c160v06.htm Digital TIFF file Scan of 35mm Ilford FP3 black and white negative transparencyechuca, george coop collection, governor of victoria, j-521, railway crossing, royal train, sir rohan delacombe, state car no. 5, victorian railways, wharf spur line -
Linton Mechanics Institute and Free Library Collection
Book - Novel, Money and the man, [n.d.] [c.1900?]
384 p. : col. ill. Title page missing. Brown cover, with image of a man being driven in an open carriage past a group of onlookers.fictionh. m. ward, children's fiction -
University of Melbourne, Burnley Campus Archives
Booklet, The Wood Structure of some Cunoniaceae with Methods for their Identification, 1938
cunoniaceae, wood structure, timber, identification, csiro, forest products -
Eltham District Historical Society Inc
Photograph, Steam locomotive J-521 with the Royal Train on the Wharf Spur line during a visit to Echuca by the new Governor of Victoria, His Excellency Sir Rohan Delacombe, c.May 1963
In this picture the Royal Train is pulled up with the State Car at the commemorative platform on the Wharf Spur line. The train has been shortened comprising steam locomotive J-521 and tender to which is attached the State car. The State car is in the design of the Spirit of Progress. The platform is lined with plants in planter boxes. Two men in suits standing to the right, one with a large camera – either press or official photographer. The sign on the platform commemortaes the visit of Her Majesty Queen Elizabeth and His Royal Highness Phillip Duke of Edinburg on March 5th, 1954. George Coop advised that the occasion is the visit of the Governor of Victoria, Sir Rohan Delacombe to Echuca in 1963. Delacombe had replaced Sir Dallas Brooks in May 1963 who had departed for England on the liner Iberia,11 April 1963 (1963 'SIR DALLAS ON WAY TO U.K.', The Canberra Times (ACT : 1926 - 1995), 9 April, p. 9. , viewed 27 Jan 2020, http://nla.gov.au/nla.news-article104249252) George believes the Governor was doing a considerable formal train ride around the State and Echuca was on the schedule. The ‘platform’ was a special creation for such purposes, located on the wharf spur line that ran behind the Echuca Civic Centre. The large notice board commemorates the Queen’s visit on March 5th, 1954 for which the platform was initially built. From time to time it would get spruced up with pot plants, fresh paint and repaired hand rails for formal functions. A picture of His Excellency Sir Rohan Delacombe, Governor of Victoria, and Lady Delacombe about to entrain at Spencer Street for a visit to western Victoria is available on page 4 of VICTORIAN RAILWAYS REPORT OF THE VICTORIAN RAILWAYS COMMISSIONERS FOR THE YEAR ENDED 30th JUNE, 1963. (http://www.victorianrailways.net/vr%20history/annual_reports/vrar1963.pdf) More information about the Victorian Railways Royal Train https://en.wikipedia.org/wiki/Victorian_Railways_Royal_Train State Car No. 5 https://www.pjv101.net/cd/pages/c160v06.htmDigital TIFF file Scan of 35mm Ilford FP3 black and white negative transparencyechuca, george coop collection, governor of victoria, j-521, royal train, sir rohan delacombe, state car no. 5, victorian railways, wharf spur line -
Benalla Art Gallery
Watercolour, Settler's hut, Not dated
Born: The Hague, Netherlands 1801; Arrived: Melbourne, Victoria, Australia 1853; Died: Melbourne, Victoria, Australia 1879ColonialGift of Mrs E.E. Ledger, 1987Watercolour depicting a rural landscape with a settler's hut and figures standing in a cleared paddock. Gold and grey brushed timber frame with off white window mountRecto: Signed "H L Van den Houten" in brown watercolour in l.r.c of composition; Not dated; Not titledwatercolour, landscape, house, figures, path, fence, building, hills -
Melbourne Tram Museum
Document - Personal Papers, "Tramway Acts", 1920's
Book - brown card cover, stapled with a set of 9 Acts of the Victorian Parliament that involved the MMTB and other tramways. Contains the following Acts: 1 - Act 3367 - Act to amend the MMTB Act - 15/12/1924 2 - Act 3308 - Act to amend the MMTB Act - 18/12/1923 3 - Act 3247 - relating to the works and undertakings of The North Melbourne Electric Tramways and Lighting Company Limited in the Municipal District of the City of Melbourne and the City of Essendon - 21/12/1922 4 - Act 3023 - to amend the MMTB Act - 16/12/1919 5 - Act 2995 - Melbourne and Metropolitan Tramways Act 1918 - set up the MMTB - 7/1/1919 - document has been trimmed on the right hand side to enable the various parts to be opened up - has many hand written notes on changes to the Act, underlining. With in the covers are many hand written notes on the various Acts and questions and comments - pencil on plain paper. See Also Reg Item 2108 for these and other Acts bound into a book.The various Acts have "H. S. McComb" written on the top right hand corner in ink or pencil.trams, tramways, tramways, acts of parliament, mmtb, nmetl -
Melbourne Tram Museum
Document - Personal Papers, "re Municipal Officers Association (MMTB Sub-Branch) - right to appeal against classification.", May. 1957
Correspondence - original documents - Opinion 5 pages pinned in top left hand corner, plus requested document - all on typed foolscap paper, by W. T. Tredinnick, of Selborne Chambers 10/10/1950, titled "re Municipal Officers Association (MMTB Sub-Branch) - right to appeal against classification." Outcome summarised on rear page - currently no right of appeal as to classification.Page requesting opinion - has "H. S. McComb esq" written in the top left hand corner.trams, tramways, mmtb, unions, moa, legal agreements -
Flagstaff Hill Maritime Museum and Village
Domestic object - Bowl, Late 19th or early 20th Century
The Process of Making Pottery Decorating, Firing, Glazing, Making, Technical There is a rhythm and flow to clay. It can’t be done all at once! Even the making process! It can take weeks to get everything done, especially if you can only work on your pottery once a week! Even though we have three hour classes, it’s often just not enough time! Here is an overview of some of the processes so you have a bit more grasp on some of the technical stuff! Step One – Design There are SO many ideas out there for making stuff in clay! From delicate porcelain jewellery, through to heavy sculptural work and everything in between. Deciding your direction is sometimes not that easy – when you first start, try everything, you will naturally gravitate to the style that you enjoy! The options and variations are endless and can get a wee bit overwhelming too! Check in with me before you start to ensure your ideas will work, what order you might do things, how you could achieve the look you are seeking and any other technical data required! Step Two – Making Clay is thixotropic. This means that as you work with it, the clay first gets sloppier and wetter, before is begins to dry in the atmosphere. For most things, you simply can’t do all parts of the project at once. An example of work order might look like: Get last weeks work out from the shelves Prepare clay for today’s work – roll your clay, prepare balls for throwing, make the first stage of a pinch pot) Clean up last week’s work and put it on the shelf for bisque firing Check that you have any glazing to do – and do enough of it that you will have time to finish your main project Do the next step of your next project – there might be a further step that can’t be complete immediately, in that case, wrap your work well and put onto the shelves. Letting your work rest for a while can really help keep your work clean and professional looking. Many things require bagging under plastic to keep it ready for work the next week – put your name on the outside of the bag so you can find your work easily. We have stickers and markers. Consider how you want to decorate your work – coloured slip can be applied at a fairly wet stage (remembering that it will make your work even wetter!). Trying to apply slip to dry clay won’t work! If you want to do sgraffito – you will need to keep the work leather hard (a state of dryness where you can still work the clay with a little effort and a little water and care). Step Three – Drying Most of the time your work can go into the rack uncovered to let it dry out for the following week. If you want to continue forming or shaping you will need to double bag your work – put your work on a suitable sized bat and put the bat in a bag so the base of the bag is under the bat, then put another bag over the top of the work and tuck the top of the bag under the bat. If you want to trim (or turn) your thrown work the following week, it should also be double bagged. If your work is large, delicate, or of uneven thicknesses, you should lightly cover your work for drying. When considering the drying process, bare in mind the weather, humidity and wind! The hotter and dryer, the faster things dry and work can dry unevenly in the shelves – this can lead to cracking – another time to lightly cover your work for drying. Step Four – Trimming and Cleaning Up Your work is dry! It is called greenware now and it is at it’s most fragile! Handle everything with two hands. I often refer to soft hands – keep everything gentle and with your fingers spread as much as possible. Try to not pick up things like plates too much, and always with both hands! Before your work can be bisque fired it should be “cleaned up”. You work won’t go into the kiln if it has sharp edges – when glazed, sharp edges turn into razor blades! Use a piece of fly wire to rub the work all over – this will scratch a little so be light handed. Use a knife or metal kidney to scrape any areas that require a bit more dynamic treatment than the fly wire offers! Finally, a very light wipe over with a slightly damp sponge can help soften and soothe all of your edges and dags! Trimming thrown work: If you are planning to trim (or turn) your thrown work (and you should be), make sure you bag it well – your work should be leather hard to almost dry for easiest trimming. Use this step to finish the work completely – use a metal kidney to polish the surface, or a slightly damp sponge to give a freshly thrown look. Wipe the sponge around the rim after trimming, and check the inside of the pot for dags! Trimming slip cast work: Usually I will trim the rims of your work on the wheel the following day to make that stage easier, however you will still need to check your work for lumps and bumps. Last but not least – check that your name is still clearly on the bottom of your work. Step Five – Bisque Firing When the work is completely dry it can go into the bisque kiln. The bisque kiln is fired to 1000°C. This process burns off the water in the clay as well as some of the chemically bound water. The structure of the clay is not altered that much at this temperature. Inside the bisque kiln, the work is stacked a little, small bowl inside a larger bowl and onto a heavy plate. Smaller items like decorations or drink coasters might get stacked several high. Consideration is paid to the weight of the stack and shape of the work. A bisque kiln can fire about one and a half times the amount of work that the glaze kiln can fire. The firing takes about 10 hours to complete the cycle and about two days to cool down. Once it has been emptied the work is placed in the glaze room ready for you to decorate! Step Six – Glazing Decorating your work with colour can be a lot of fun – and time consuming! There are three main options for surface treatment at this stage: Oxide Washes Underglazes Glazes Washes and underglazes do not “glaze” the work – It will still need a layer of glaze to fully seal the clay (washes don’t need glaze on surfaces not designed for food or liquid as they can gloss up a little on their own). Underglazes are stable colourants that turn out pretty much how they look in the jar. They can be mixed with each other to form other colours and can be used like water colours to paint onto your work. Mostly they should have a clear glaze on top to seal them. Oxides are a different species – the pink oxide (cobalt) wash turns out bright blue for instance. They don’t always need a glaze on top, and some glazes can change the colour of the wash! The glazes need no other “glaze” on top! Be careful of unknown glaze interactions – you can put any combination of glaze in a bowl or on a plate, but only a single glaze on the outside of any vertical surface! Glazes are a chemical reaction under heat. We don’t know the exact chemicals in the Mayco glazes we use. I can guess by the way they interact with each other, however, on the whole, you need to test every idea you have, and not run the test on a vertical surface! Simply put, glaze is a layer of glass like substance that bonds with the clay underneath. Clay is made of silica, alumina and water. Glaze is made of mostly silica. Silica has a melting point of 1700°C and we fire to 1240°C. The silica requires a “flux” to help it melt at the lower temperature. Fluxes can be all sorts of chemicals – a common one is calcium – calcium has a melting point of 2500°C, however, together they both melt at a much lower temperature! Colourants are metal oxides like cobalt (blue), chrome (green through black), copper (green, blue, even red!), manganese (black, purple and pink) iron (red brown), etc. Different chemicals in the glaze can have dramatic effects. for example, barium carbonate (which we don’t use) turns manganese bright pink! Other elements can turn manganese dioxide brown, blue, purple and reddish brown. Manganese dioxide is a flux in and of itself as well. So, glazes that get their black and purple colours, often interact with other glazes and RUN! Our mirror black is a good example – it mixes really well with many glazes because it fluxes them – causes them to melt faster. It will also bring out many beautiful colours in the glazes because it’s black colouring most definitely comes from manganese dioxide! Glaze chemistry is a whole subject on it’s own! We use commercial Mayco glazes on purpose – for their huge range of colour possibilities, stability, cool interactions, artistic freedom with the ability to easily brush the glazes on and ease of use. We currently have almost 50 glazes on hand! A major project is to test the interactions of all glazes with each other. That is 2,500 test tiles!!!! I’m going to make the wall behind the wheels the feature wall of pretty colours! Step Seven – Glaze (Gloss or sometimes called “Glost”) Firing Most of the time this is the final stage of making your creation (but not always!) The glaze kiln goes to 1240°C. This is called cone 6, or midrange. It is the low end of stoneware temperatures. Stoneware clays and glazes are typically fired at cone 8 – 10, that is 1260 – 1290°C. The energy requirement to go from 1240°C to 1280°C is almost a 30% more! Our clay is formulated to vitrify (mature, turn “glass-like”) at 1240°, as are our glazes. A glaze kiln take around 12 hours to reach temperature and two to three days to cool down. Sometimes a third firing process is required – this is for decoration that is added to work after the glaze firing. For example – adding precious metals and lustres. this firing temperature is usually around 600 – 800°C depending upon the techniques being used. There are many students interested in gold and silver trims – we will be doing this third type of firing soon! After firing your work will be in the student finished work shelves. Remember to pay for it before you head out the door! There is a small extra charge for using porcelain clay (it’s more than twice the price of regular clay), and for any third firing process! Once your work has been fired it can not turn back into clay for millennia – so don’t fire it if you don’t like it! Put it in the bucket for recycling. https://firebirdstudios.com.au/the-process-of-making-pottery/This bowl was made by renowned pottery company J & G Meakin of England. The firm was established in the mid-1800's. The bowl is an example of kitchenware used in the 19th century and still in use today.Bowl; white ceramic, round and tapering inwards towards base. Made by J and G Meakin England.On base, 'Ironstone China Reg SOL 391413' with symbolflagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, mixing bowl, food preparation, j & g meakin, pottery, stoke-on-trent, kitchen equipment, ceramic -
Flagstaff Hill Maritime Museum and Village
Bowl
Large white ironstone china bowl. Made by J & G Meakin. Hanley England. 15' in diameter.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, china bowl, bowl -
The Beechworth Burke Museum
Certificate - Photograph, January 1st 1895
This certificate was awarded to Beechworth Fire Brigade for winning the eight men hose & reel practice at the inter-colonial Demonstration held at Albury, NSW on January 1st 1895. Pictured from left to right: T. Coswello / H. Thompson / F. Dunn / H.O. David / F. Lloyd, (capt) / J. Davis / H. Duncan, (Lieut) / T. Shennan. Black and white certificate reproduction printed on matte photographic paperObverse: Beechworth Fire Brigade / Winners of the Eight Men Hose & Reel Practice / at the intercolonial Demonstration / Held at Albury, NSW / Jan 1st 1895/ T. Coswello / H. Thompson / F. Dunn / H.O. David / F. Lloyd, (capt) / J. Davis / H. Duncan, (Lieut) / T. Shennan Reverse: BMM 6933emergency services, burke museum, fire brigade, fire, beechworth, 1895, albury, beechworth fire brigade -
Orbost & District Historical Society
trophy, 1950's
This trophy was won by H. Cumming, member of the Orbost Rifle Club. Harold Cumming was the son of William Cumming a Bete Bolong farmer who was a Shire councillor, a well-known local sportsman and a Rechabite. Jacob Perry was an Orbost farmer. Born 1874. Died 1950. He was a Boer War veteran , 4th Victorian Imperial Bushmen. a shire councillor and worker for school affairs.This trophy, in excellent condition, is aesthetically significant as well as having a well-provenanced historic significance. Harold Cumming was the son of William and Ellen (Mundy) Cumming who farmed land at Bete Bolong from c1880s. A silver plated trophy - a coffee pot - won by H. Cumming. It is an Orbost Rifle Club trophy - the Jacob Perry Memorial Trophy - 1954.O.R.C. JACOB-PERRY MEMORIAL TROPHY 1954 Won by H. Cummingorbost-rifle-club trophy cumming-h -
Bendigo Historical Society Inc.
Document - ANCIENT ORDER OF FORESTERS NO 3770 COLLECTION: DOCUMENT
Small eight page document Bendigo United Friendly Societies' Medical Institute and Dispensary, established 1872. Printed by J. Brockley, Printer, Williamson Street. MDCCCLXXX. Inside the front cover are the names of the President - S. H. McGowan, Treasurer - Edward Holton, Secretary - Jas. Watson and the Names of Societies connected therewith, and their Representatives:-;Bendigo Lodge M.U.,I.O.O.F. - James Haynes, S. Johns, Ed. Bastard. Bendigo Lodge, O.S.A.,S.C. - Wm. Taylor. Bendigo Deutscher Verein - H. C. Weibgen. Court Alexandra, A.O.F. - Ed. Holton. Court Bendigo, A.O.F. - J. Anderson, R. Johnston, Thos. Pattinson. Court Pride of the Forest, A.O.F. - E. Darby, N. Longstaff. Court Queen o fthe Forest, A.O.F. - j. Waller, G. Schultz. Gold Miners' Pride Lodge, M.U.,I.O.O.F. - N. Johns, W. P. Conolly. Heart of Friendship Lodge, M.U., I.O.O.F. - S. H. McGowan, C. Houston, Jas. Watson. St. Kilian's Branch, H.A.C.B.S. - John Bartley, J. J. Howard. Sandhurst Lodge, G.U.O.O.F. - W. H. Bienvenue. Quartzopolis Lodge, U.A.O.D. - S. Herman. Document mentions the working of the Societies', fees, where they had saved money, Medical Officer and also mentions Rules and Regulations.J. Brockley, Printer, Williamson Streetsocieties, aof, correspondence, ancient order of foresters no 3770 collection - document, bendigo lodge m.u., i.o.o.f. bendigo lodge, o.s.a., s.c. bendigo deutscher verein, court alexandra, a.o.f., court bendigo, a.o.f. court pride of the forest, a.o.f., court queen o fthe forest, a.o.f., gold miners' pride lodge, m.u., i.o.o.f., heart of friendship lodge, m.u., i.o.o.f., st. kilian's branch, h.a.c.b.s., sandhurst lodge, g.u.o.o.f. quartzopolis lodge, u.a.o.d., s h mcgowan, edward holton, jas watson, james haynes, s johns, ed bastard, wm taylor, h c weibgen, j anderson, r johnston, thos pattinson, e darby, n longstaff, j waller, g schultz, n johns, w p conolly, c houston, jas watson, john bartley, j j howard, w h bienvenue, s herman, a colquhoun, w h frost, friendly societies' medical institute and dispensaries, colonial friendly societies, the bendigo united friendly societies' dispensary, alfred hospital melbourne -
Bendigo Military Museum
Flyer - BOOKLETS RAAF, 2) 21.6.1940; .1) c.WWII
Items belonging to M J TAYLOR 418772 RAAF. Refer Reg No's 112P, 113, 115.2..1) & .2) Information booklets for entry into the RAAF WWII. .1) Printed on front cover: There's a man's job to be done in the air. Join the R-A-A-F Air Crew. .2) Printed front cover: RAAF publication No 78 Air Crew Entry under the Empire Air Scheme.booklets, raaf enlistment -
Torquay and District Historical Society
Domestic object - Glass Dish, 1884
The Joseph H Scammell sailed from New York on 13th January 1891 bound For Melbourne Australia. On 7th May 1891 she hit rough weather outside Port Phillip Bay, and hit the reef 400 metres off Port Danger, at Torquay. The people on board were rescued the next day but the ship broke up and cargo and goods were strewn along the foreshore. An auction of goods was conducted by Burns and Sparrow and this dish was purchased by Edwin Molyneaux, one of the Founding Fathers of Torquay, and donated by his Great Grand daughterThis item was rescued from the only shipwreck off Torquay. The focus of this wreck has formed part of Torquay's history and folkloreA solid rectangular clear cut glass dish, part of collection from the Joseph H. Scammell.Original Note of unknown author "off /Joseph H/Scammell/May7th 1891glass dish, wreck of joseph h scammell -
Eltham District Historical Society Inc
Photograph, Steam locomotive J-521 with the Royal Train at Echuca Railway Station during a visit by the new Governor of Victoria, His Excellency Sir Rohan Delacombe, c.May 1963
In this picture can be seen steam locomotive J-521 and tender to which is attached State Car No. 5. It is believed that the other support carriages have been de-attached and the train has pulled up at the front of the platform allowing room for other trains to pull in. Immediately behind on the same track at the platform is a Diesel Electric Rail Motor (DERM) and C-class bogey (luggage) then a small (articulated) rail car (articulated) then a cattle van. On the adjacent track is State Car No. 2 (Melville) and a C-van. State Car No. 2 (Melville) was used a power generation car for special trains and the Train of Knowledge. State Car No. 5 is in the design of the Spirit of Progress. George Coop advised that the occasion is the visit of the Governor of Victoria, Sir Rohan Delacombe to Echuca in 1963. Delacombe had replaced Sir Dallas Brooks in May 1963 who had departed for England on the liner Iberia,11 April 1963 (1963 'SIR DALLAS ON WAY TO U.K.', The Canberra Times (ACT : 1926 - 1995), 9 April, p. 9. , viewed 27 Jan 2020, http://nla.gov.au/nla.news-article104249252) George believes the Governor was doing a considerable formal train ride around the State and Echuca was on the schedule. The ‘platform’ was a special creation for such purposes, located on the wharf spur line that ran behind the Echuca Civic Centre. The large notice board commemorates the Queen’s visit on March 5th, 1954 for which the platform was initially built. From time to time it would get spruced up with pot plants, fresh paint and repaired hand rails for formal functions. George attended the Civic Reception held for the Governor. A picture of His Excellency Sir Rohan Delacombe, Governor of Victoria, and Lady Delacombe about to entrain at Spencer Street for a visit to western Victoria is available on page 4 of VICTORIAN RAILWAYS REPORT OF THE VICTORIAN RAILWAYS COMMISSIONERS FOR THE YEAR ENDED 30th JUNE, 1963. (http://www.victorianrailways.net/vr%20history/annual_reports/vrar1963.pdf) More information about the Victorian Railways Royal Train https://en.wikipedia.org/wiki/Victorian_Railways_Royal_Train State Car No. 5 https://www.pjv101.net/cd/pages/c160v06.htm State Car No. 2 (Melville) https://www.pjv101.net/cd/pages/c160v03.htmDigital TIFF file Scan of 35mm Ilford FP3 black and white negative transparencycattle van, c-van, diesel electric rail motor (derm), echuca, echuca rail yard, echuca railway station, george coop collection, governor of victoria, j-521, rail car, royal train, power car, sir rohan delacombe, state car no. 2 (melville), state car no. 5, train of knowledge, victorian railways -
Flagstaff Hill Maritime Museum and Village
Tool - Moulding Plane, J Hastie, 1766-1802
A moulding plane is a specialised plane used for making the complex shapes found in wooden mouldings that are used to decorate furniture or other wooden object. Traditionally, moulding planes were blocks of wear resistant hardwood, often beech or maple, which were worked to the shape of the intended moulding. The blade, or iron was likewise formed to the intended moulding profile and secured in the body of the plane with a wooden wedge. A traditional cabinetmakers shop might have many, perhaps hundreds, of moulding planes for the full range of work to be performed. Large crown mouldings required planes of six or more inches in width, which demanded great strength to push and often had additional peg handles on the sides, allowing the craftsman's apprentice or other worker to pull the plane ahead of the master who guided it.A vintage tool used before routers and spindle moulders came into use after World War ll, a time when to produce a decorative moulding for a piece of furniture was done by hand using one of these types of plane. A significant item from the mid to late 19th century that today is quite rare and sought after by collectors. It gives us a snapshot of how furniture was made predominately by hand and with tools that were themselves hand made shows the craftsmanship used to make such a unique item. Moulding Plane Hollow type No15 J Hastie Stamped EG W.M flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village -
4th/19th Prince of Wales's Light Horse Regiment Unit History Room
Framed Print, The Ceremonial Opening of Hopkins Barracks 31 Oct 1985, 1986
Framed print, glass fronted, landscape of opening of Hopkins Barracks by HRH the Prince Charles, Colonel-in-Chief Royal Australian Armoured Corps 31 Oct 1985. All RAAC guidons with escort are in line facing dais and guests. A Centurion tank is passing along road next to parade ground with crew commander saluting. Another tank is following.Signed by artist - "J Attard 1986" -
Lakes Entrance Regional Historical Society (operating as Lakes Entrance History Centre & Museum)
Book, We Journey Hopefully, 1978c
An account of the formation of Country Women Association groups East Gippsland from 1931 to 1978 including Bairnsdale Orbost Tubbut Glenedale Nowa Nowa and Lakes Entrance VictoriaMarion Holding Nancy J Scottarts, associations, charities -
Clunes Museum
accessory - SPECTACLES AND CASE
.1 SPECTACLES WITH SMALL OVAL LENSES AND FINE METAL FRAMES. .2 CASE -CARDBOARD WITH MAROON LEATHERETTE COVERING.ON CASE - J. GILLMAN OPTICIAN CLUNESlocal history, personal effects, seeing aids -
Clunes Museum
Medal
K. McCULLAGH PURCHASED THE MEDAL AT CASH CONVERTERS IN PERTH - CHRISTMAS 2001, AT A COST OF $300GOLD MEDAL COMMEMORATING BALLARAT TO CLUNES BICYCLE RACE IN 1896.BALLARAT TO CLUNES J ALLAN 9CTlocal history, numismatic, medal, commenorative, sport, bike race -
Stawell Historical Society Inc
Painting, J Bosher, Stawell Court House c1985
Framed Water Colour of Stawell Court House in Patrick Street StawellJ Bosher Stawell Court House -
Melbourne Legacy
Badge, Legacy Appeal Badge - $2
An example of badges issued by Legacy for fundraising during the Legacy Appeal and Badge Week. The donation value was $2. The date is not known. The badge of Legacy is the Torch and Wreath of Laurel. The Torch signifies the undying flame of service and sacrifice of those who gave their lives for their country. The Wreath of Laurel is the symbol of our remembrance of them. Example of Legacy badges that were sold up to raise money for Legacy's work. Legacy Appeal badge with the Legacy torch, it is gold with white enamel around a torch and around the word Legacy with red enamel in the flame. It is a rectangular shape.On the reverse 'A J Parkes / Brisbane / $2'.legacy appeal, fundraising, badge week -
Melbourne Tram Museum
Photograph - Q class tram 197 South Melbourne depot, c1924
Black and white photograph of Q class No. 197 at South Melbourne depot, probably soon after it's entry into service during Sept. 1923. Has the MMTB name along the rocker panel, and a PMTT-style destination box, showing the destination of Hanna St Depot. This type of destination mechanism would have required a person standing on the bumper bar, to reach up to change the destination.Yields information about the then new Q class trams.Black and white print with photographer's detail on the rear."C J Frazer" photographers stamp.tramways, tramcars, tram 197, south melbourne depot, hanna st depot, q class -
Federation University Historical Collection
Letter, J. Vent, Town of Ballarat East Letterhead, 09/07/1910
Typed letter from Town of Ballarat East Town Clerk, J. Gent, to the Registrar of the Ballarat School of Mines.ballarat east council, town of ballarat east, coat of arms -
National Vietnam Veterans Museum (NVVM)
Letter
These items contributes to an understanding of an understanding of the experience of family and friends of those who serviced in the war in Vietnam.2 letters via Airmail from Vietnam to Australia. To Miss S. Richards from J. Hartwell - 3794001.Air Mail/Australian Force/Vietnam/Free/Miss S Richards/9 Seaview Cres/ Black Rock/3193/Vicletters, j hartwell, 3794001