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Royal District Nursing Service (now known as Bolton Clarke)
Photograph - Photograph, black and white, Barry Sutton, c.1970
Miss Wright is Director of Education at Royal District Nursing Service (RDNS). She is sitting at a desk in the Education Department which was in Headquarters, 452 St. Kilda Road, until 1974 when it relocated to larger premises at 448 St. Kilda Road. Education was an integral part of Melbourne District Nursing Society (MDNS) from its inception in 1885, later called Royal District Nursing Service, (RDNS). Only Trained Nurses (Nurses) were employed by the Society, and on visits to patients they taught the necessity of hygiene and cleanliness, as well as the need for a good diet, to bring about good health. Doctor’s lectures were later given at the MDNS home to instruct patients and their families on prevention of disease. Education to patients continued throughout the years regarding health care and the use of equipment in the home. In 1961 Education programs commenced at MDNS with their Trained nurses (Sisters) receiving In-service education. Staff could also apply for scholarships to further their education outside of RDNS. At RDNS many programs were run, including: a Post Basic Course, Cardiac Rehabilitation Nursing, Haematology/Oncology Nursing, Palliative Care program, Diabetic Stabilization Program, Leg Ulcer Management Program, Wound Care Specialist Program, HIV/AIDS Nursing Care, Cystic Fibrosis Home Support, Veterans Home Care Program, Homeless persons Program, Breast Cancer Support Program, Continence Management Program, Stomal Therapy Program, In-Home Lactation Support Program. RDNS staff attended several hospitals to observe and learn special care needed to some clients, e.g. to the Austin Hospital to learn the care required for paraplegic and quadriplegic clients at home and to Mount Royal Hospital to observe the care of clients in the rehabilitation ward.. A Community Nursing Education Program was extended to student nurses from hospitals and to other nursing organizations. These Education programs kept the RDNS Sisters abreast of new techniques, such as changes in technology for e.g. new testing methods in detecting glucose levels in Diabetic patients. Sr. Nan Deakin obtained a Post Basic Certificate in Psychiatric Nursing and included this area in her education lectures. Sr. Daphne Geldard specialized in the area of Alzheimer’s disease and Dementia. These Sisters visited patients in District areas with the regular RDNS Sister when required. Every member of staff, both professional and non professional staff, received regular education in the Education Department. In 1980, a Home Health Aide pilot study, funded by the Federal Government, the Brotherhood of St. Laurence and RDNS, with the program written and taught by Sr. Rowley, was evaluated as successful, and Home Health Aides were employed and worked in RDNS Centres under the supervision of the RDNS Sisters. Black and white photograph of Miss Ora Wright, who has light coloured wavy hair and is wearing a grey long sleeve top with a long string of mixed coloured beads hanging over it. She is sitting behind a dark coloured wooden desk and has a pen in her right hand poised to write on a white sheet of paper. Her left arm is bent with her hand holding the light coloured hand-piece of a telephone to her left ear. There is a large blotter and other sheets of white paper on the desk as well as three thick books standing on the front right hand side of the desk. Behind her to the right is a two drawer filing cabinets and above this is a large board with charts running down it. On the left hand side of the photograph a low table with papers stacked on it. Above this, attached to the wall, is a rectangular board with horizontal and vertical rows marked out and some white cards on it. On the far right of the photograph, part of a wall and open Venetian blinds over a window can be seen.Photographer stamp and Quote No. DR 2royal district nursing service, rdns, rdns education, ora wright, -
The Beechworth Burke Museum
Animal specimen - Crimson Rosella
The Crimson Rosella is native to Australia and located in Queensland and South Australia. Australia has a diverse range of rosellas, but the crimson rosella is easily recognised by the red body and blue cheeks. These birds are friendly to humans and consume seeds, insects and some blossoms. They nest in high trees, preferably eucalyptus. Typically, a crimson rosella should have far brighter colours than the specimen collected. This specimen has also been documented as having a light blue or black beak. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This Crimson Rosella has a red feathered chest and cape across the head and blue cheeks besides the bill. The tail and wing feathers are mostly black with blue around the edges. The head is angled slightly to the specimen's left. This specimen stands upon a wooden platform and has an identification tag tied around its leg.78a. / Rennauts Parakeet / See Catalogue, page 22 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, bird, california, australian native bird, crimson rosella, rosella, reynell eveleigh johns, platycercus elegans -
The Beechworth Burke Museum
Animal specimen - Wombat, Trustees of the Australian Museum, 1860-1880
Wombats are short-legged, muscular, nocturnal marsupials that live in a wide variety of habitats throughout Australia. A common wombat can grow up to 1.2 metres in length and weigh up to 35 kilograms. The name “wombat” comes from the Darug language spoken by the Aboriginal Darug people, who originally inhabited the Sydney area. The wombat was first recorded in 1798 by explorer John Price on a visit to Bargo in New South Wales, however, wombats are depicted on Aboriginal rock-art that date back as far as 4,000 years ago. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum and the National Museum of Victoria, as well as individuals such amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century. This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century. Medium sized stocky wombat with a broad head and two muscular forelegs and two weaker hind legs that are met with long sharp black claws. The hair is long, thick and coarse in brown/yellow shades. The head features two small black eyes that have been made from glass, two short pointed ears and a bare nose pad. On wooden mount: BMM 5901 /taxidermy mount, taxidermy, wombat, animalia, vombatidae, burke museum, beechworth, australian museum, skin, reynell eveleigh johns -
Orbost & District Historical Society
ticket, 8.03.2009
This is a ticket for one adult to cruise on the P.S.Curlip 11 which operated from the Brodribb Jetty in Marlo.from 2007 - 2015. "Paddle Steamer Curlip, a 62 feet long, traditional, plank on frame carved timber vessel, that was built by the people of East Gippsland at Orbost, in far Eastern Victoria. The undertaking to design and build this vessel, as a community project commenced in 2002. The community, based around Orbost was largely dependant on the Timber industry in the surrounding Victorian High Country. With the closure of Alpine logging and the creation of vast National Parks, the people of the region needed to create a major undertaking to bond the community and engender… a sense of belonging, this was critical for many of the men, who were dispossessed with the loss of their historical timber and forestry industry." (Information from website: https://www.curlip.com.au/) The Paddle Steamer Curlip 11 is a reproduction of the historic Curlip a small paddle steamer built by Samuel Richardson and his sons at his Tabbara sawmill near Orbost. It helped open up the region in the 1880’s before road or rail, serviced East Gippsland. Much work is being done to restore the Curlip 11 so that it can begin again as a tourist cruise boat.The P.S.Curlip 11 is Victoria's only Paddle Steamer. It was a community project involving many Orbost peolpe.A rectangular, white paper ticket with black print. In red is No. 1297 and the date and cruise time are hand-written in blue pen. ttached to the back of the ticket is a printed receipt.paddle-steamer-curlip 11 tourism-orbost -
Upper Yarra Museum
Lamp, Tilley Lamp Company
http://en.wikipedia.org/wiki/File:Tilley-storm-lantern-X246-May- Tilley storm lantern, this model has been in production since 1964 The Tilley Lamp derives from John Tilley’s invention of the hydro-pneumatic blowpipe in 1813 in England. http://en.wikipedia.org/wiki/Kerosene_lamp#Pressure_lamp Pressure lamps are far more sophisticated than wick lamps and produce a much brighter light, although they can be quite complicated and fiddly to use. This type of lamp is commonly known in the UK as a "Tilley lamp", after a manufacturer of the same name, and in North America as a "Coleman lantern" for similar reasons. A kerosene blowtorch displaying the various aspects of the kerosene burnerA pressure lamp has a fuel tank at the bottom with a small pump to pressurise the kerosene. There is a narrow gap up to the top of the lamp, called a flue, and at the top of the lamp there is a burner (gas outlet). Directly underneath the burner is the mantle, a fabric bag coated with chemicals that incandesce when heated by the gas flame. The burner lamp is known for its brightness. It is so bright because of the amount of pressure that is placed onto the wick. This pressure allows a steady flow of the gasoline and a constant light Tilley Storm Pressure Lantern, model no x246 has a stainless steel base which is filled with kerosene, with a pump used to pressurize the kerosene vapor. Under the base is a sticker.On top is a black hood with vents which sits on the glass heat resistant shade. The glass shade has an etched label. It has a white and pink mantle on the central rod with a long shaped stainless steel handle, this folds down when not in use.Base - Sticker Tilley Lamp Model X246 Etched on glass shade Tilley, Durosil, ITI, Heat Resistant. Made in Englandlantern tilley pump pressure mantle kerosene methylated spirits stainless steel lamp kerosene lamp round glass cylinder -
Eltham District Historical Society Inc
Photograph, The Rose Stereograph Company, The Wading Pool, Greensborough, c.1939
View looking northeast across the wading pool set into the Plenty River towards the original bluestone Greensborough Bridge (since demolished). A timber pedestrian footbridge added after construction is visible on the far side of the bridge through the arch and beyond to the hillside which is now present day Pioneer Reserve. This glass plate negative was used to manufacture postcards (1:1 printing) for commercial sale by the Rose Sterograph Company and its subsidiaries. George Rose founded the Rose Stereograph Company in 1880 and was joined by Herbert (Bert) Cutts in the early 20th Century. The pair formed a lifetime working partnership and strong personal friendship. Assisted by George’s two sons, Herbert George and Walter, and later by Neil Cutts, the Rose Stereograph Company continued its operations for more than 140 years. The company was initially built on stereographs, but as cinema took over and stereographs fell out of fashion, the Rose Stereograph Company developed Australia’s first commercially viable photographic postcard business. Specialising in postcards of iconic historical moments and significant landmarks, The Rose Stereograph Company became a staple of the Australian travel industry.This remarkable collection of glass plate negatives, transparencies, and postcards – arguably Australia’s most significant photography collection outside of public hands – has been passed down through the generations, surviving war, relocation, and the harsh Victorian climate. The historic Rose Stereograph collection is the culmination of George Rose’s dream of capturing and preserving precious moments in time and remains the legacy of the Rose and Cutts families. It is with great sadness that the Cutts family says goodbye to a collection that spans five generations and 140 years. The Cutts family understands that for these historically important pieces to rest with one family is to deny others the pleasure of their custodianship.Glass Plate Negative Size: 9.1 x 14 cmThe Wading Pool, Greensborough, Published by W. M. Butterworh No. 8postcard, travel, rose stereograph company, glass plate negative, greensborough, footbridge, greensborough bridge, main road, plenty river, w. m. butterworth, pioneer reserve, wading pool, peter and elizabeth pidgeon collection -
Eltham District Historical Society Inc
Photograph, Bateman House (1961)
Image 17 Bateman House 1961 Designed and built by John and Pattie Bateman and family The Alistair Knox Collection The Alistair Knox Collection is a series of mounted enlarged photos of mud brick houses and related subjects. The collection is understood to have been put together by Alistair Knox although it is the work of several unacknowledged photographers. For some years it was held by the Building Department of the former Eltham Shire Council and was then passed to our Society for safekeeping. Some of the photos have been used in Knox's books and from time to time some of them have been part of various historical displays. As far as we know there has not been a public display of the whole collection which numbers about forty photographs. The collection has been copied on to slides for the purpose of this meeting and to be retained as part of the Society's pictorial collection. Alistair Knox 1912 - 1986 is acknowledged as the founder of Eltham's mud brick building movement. Many of the buildings shown in the collection are of his design and he was also involved with the construction of several of them. Others are the work of his contemporaries and associates such as Peter Glass, Gordon Ford, and John Harcourt. (EDHS Newsletter No. 145 July 2002)Handwritten notes in pencil re details of building, year of construction, owner, designer, builder, etcaistair knox collection, bateman house, houses, john bateman, mud brick construction, pattie bateman -
Eltham District Historical Society Inc
Photograph, Alistair and Margot Knox House
Image 18 Alistair and Margot Knox House Designed and built by the owners The Alistair Knox Collection The Alistair Knox Collection is a series of mounted enlarged photos of mud brick houses and related subjects. The collection is understood to have been put together by Alistair Knox although it is the work of several unacknowledged photographers. For some years it was held by the Building Department of the former Eltham Shire Council and was then passed to our Society for safekeeping. Some of the photos have been used in Knox's books and from time to time some of them have been part of various historical displays. As far as we know there has not been a public display of the whole collection which numbers about forty photographs. The collection has been copied on to slides for the purpose of this meeting and to be retained as part of the Society's pictorial collection. Alistair Knox 1912 - 1986 is acknowledged as the founder of Eltham's mud brick building movement. Many of the buildings shown in the collection are of his design and he was also involved with the construction of several of them. Others are the work of his contemporaries and associates such as Peter Glass, Gordon Ford, and John Harcourt. (EDHS Newsletter No. 145 July 2002)Handwritten notes in pencil re details of building, year of construction, owner, designer, builder, etcaistair knox collection, alistair and margot knox house, alistair knox, alistair knox design, houses, margot knox, mud brick construction -
Eltham District Historical Society Inc
Photograph, Alistair and Margot Knox House
Image 18 Alistair and Margot Knox House Designed and built by the owners The Alistair Knox Collection The Alistair Knox Collection is a series of mounted enlarged photos of mud brick houses and related subjects. The collection is understood to have been put together by Alistair Knox although it is the work of several unacknowledged photographers. For some years it was held by the Building Department of the former Eltham Shire Council and was then passed to our Society for safekeeping. Some of the photos have been used in Knox's books and from time to time some of them have been part of various historical displays. As far as we know there has not been a public display of the whole collection which numbers about forty photographs. The collection has been copied on to slides for the purpose of this meeting and to be retained as part of the Society's pictorial collection. Alistair Knox 1912 - 1986 is acknowledged as the founder of Eltham's mud brick building movement. Many of the buildings shown in the collection are of his design and he was also involved with the construction of several of them. Others are the work of his contemporaries and associates such as Peter Glass, Gordon Ford, and John Harcourt. (EDHS Newsletter No. 145 July 2002)Handwritten notes in pencil re details of building, year of construction, owner, designer, builder, etcaistair knox collection, alistair and margot knox house, alistair knox, alistair knox design, houses, margot knox, mud brick construction -
Eltham District Historical Society Inc
Photograph, Alistair and Margot Knox House
Image 18 Alistair and Margot Knox House Designed and built by the owners The Alistair Knox Collection The Alistair Knox Collection is a series of mounted enlarged photos of mud brick houses and related subjects. The collection is understood to have been put together by Alistair Knox although it is the work of several unacknowledged photographers. For some years it was held by the Building Department of the former Eltham Shire Council and was then passed to our Society for safekeeping. Some of the photos have been used in Knox's books and from time to time some of them have been part of various historical displays. As far as we know there has not been a public display of the whole collection which numbers about forty photographs. The collection has been copied on to slides for the purpose of this meeting and to be retained as part of the Society's pictorial collection. Alistair Knox 1912 - 1986 is acknowledged as the founder of Eltham's mud brick building movement. Many of the buildings shown in the collection are of his design and he was also involved with the construction of several of them. Others are the work of his contemporaries and associates such as Peter Glass, Gordon Ford, and John Harcourt. (EDHS Newsletter No. 145 July 2002)Handwritten notes in pencil re details of building, year of construction, owner, designer, builder, etcaistair knox collection, alistair and margot knox house, alistair knox, alistair knox design, houses, margot knox, mud brick construction -
Eltham District Historical Society Inc
Photograph, Tools of the trade
Image 28 Tools of the trade The Alistair Knox Collection The Alistair Knox Collection is a series of mounted enlarged photos of mud brick houses and related subjects. The collection is understood to have been put together by Alistair Knox although it is the work of several unacknowledged photographers. For some years it was held by the Building Department of the former Eltham Shire Council and was then passed to our Society for safekeeping. Some of the photos have been used in Knox's books and from time to time some of them have been part of various historical displays. As far as we know there has not been a public display of the whole collection which numbers about forty photographs. The collection has been copied on to slides for the purpose of this meeting and to be retained as part of the Society's pictorial collection. Alistair Knox 1912 - 1986 is acknowledged as the founder of Eltham's mud brick building movement. Many of the buildings shown in the collection are of his design and he was also involved with the construction of several of them. Others are the work of his contemporaries and associates such as Peter Glass, Gordon Ford, and John Harcourt. (EDHS Newsletter No. 145 July 2002)Handwritten notes in pencil re details of building, year of construction, owner, designer, builder, etcaistair knox collection, mud brick construction, tools -
Eltham District Historical Society Inc
Photograph, Possibly Deborah Halpen / Macgregor Knox House
No image number Possibly Deborah Halpen / Macgregor Knox House The Alistair Knox Collection The Alistair Knox Collection is a series of mounted enlarged photos of mud brick houses and related subjects. The collection is understood to have been put together by Alistair Knox although it is the work of several unacknowledged photographers. For some years it was held by the Building Department of the former Eltham Shire Council and was then passed to our Society for safekeeping. Some of the photos have been used in Knox's books and from time to time some of them have been part of various historical displays. As far as we know there has not been a public display of the whole collection which numbers about forty photographs. The collection has been copied on to slides for the purpose of this meeting and to be retained as part of the Society's pictorial collection. Alistair Knox 1912 - 1986 is acknowledged as the founder of Eltham's mud brick building movement. Many of the buildings shown in the collection are of his design and he was also involved with the construction of several of them. Others are the work of his contemporaries and associates such as Peter Glass, Gordon Ford, and John Harcourt. (EDHS Newsletter No. 145 July 2002)Handwritten notes in pencil re details of building, year of construction, owner, designer, builder, etcaistair knox collection, deborah halpen, houses, macgregor knox house, mud brick construction -
Flagstaff Hill Maritime Museum and Village
Equipment - Belaying Pins, Late 19th Century
The pins in this collection vary in the timber used and the design. They were found in a warehouse beside Crown Casino in Melbourne, located along the Yarra River, close to the sailing ship "Polly Woodside" and not far from the docks of Port Melbourne. Some of the pins have the mark of a 'Broad Arrow' with 'D ↑ D, which signifies that they were the property of the Australian Government's Department of Defence. Belaying pins are essential equipment on a traditional sailing ship of the 19th and early 20th centuries. They are usually made of wood but some are metal. A belaying pin is used to secure the running ropes of the rigging to the ship's rails using holes drilled onto the rails for that purpose. The belaying pins are inserted into holes in the ship’s rail, drilled for that purpose. When the sail has been raised, the ropes are wrapped around the upper and lower sections of the pins in a figure-eight pattern. The shapes of these belaying pins taper from the rounded end of the handle inwards towards the bottom, which allows them to have a firm fit into the holes in the rails. The rigging rope is wound around the pins in such a way that a tug on the pin's handle pulls it out of the hole and quickly frees the rope and the sail.These belaying pins are significant for their association with sailing vessels, particularly vessels of the late 19th and early 20th centuries. They are also significant for their association with the Port of Melbourne where sailing ships docked to and from the Port of Melbourne. Some of the pins have additional significance for being connected with the Australian Government's Department of Defence.Belaying pin, wooden, simple design, wooden shaft with a wider rounded end on top third, tapering to the centre third, which is wider than a lower third. The bottom has a blunt base. Some of the pins have the three sections divided by a line around their circumferences. This collection of fifty-seven pins of varying shapes, colours and timber. Some of the pins are stained with colour, and some have been left natural Stored in a wooden crate. Some have inscriptions.Marks: (Government Defence Department Broad Arrow) "D ↑ D"sailiing equipment, nautical equipment, rigging, yards, flagstaff hill, maritime museum, maritime village, belaying pin, broad arrow, australian government, australian department of defence, sailing ship, sail -
Orbost & District Historical Society
black and white photograph, first half 20th century
Access to the cottages at the lighthouse was difficult and the horse-drawn sled was in use until the 1940s. It was used to haul personal goods as wel as those needing medical attention at far-off Orbost. This photograph could be connected with the Gledhills in the 1930s when a medical emergency necessitated a removal to Orbost. Dr Nettleton was the doctor at Orbost at that time. (there could be a link through donor) Point Hicks is claimed to be Captain James Cook’s first sighting of mainland Australia. The lighthouse was built on the point during 1887 and 1888 and commenced operation in 1890, built from concrete and with timber keepers quarters. It was connected to mains electricity in 1965, and then to solar power recently. Originally access to Point Hicks was by sea. In 1920 a return trip, by land to Cann River, 47 kilometres away from the light station, took two days. By 1946 the journey had been reduced to 36 hours by a combination of horse and jeep. During the early 1950s it was still a 12-hour ordeal. The light no longer works, it was turned off 21 years ago and the Point Hicks lighthouse is now powered by a much smaller, more modern light. the lightkeepers' cottages are used for tourist accommodation.This photograph is associated with Point Hicks, a historically important lightstation in East Gippsland.A small black / white photograph of a horse dragging a sled with suitcases on it. There are seven people walking behind, one holding the reins. They are waalking through a sand dune.on label on back - "Bring Out to Light House keeper from Point Hicks"point-hicks-lighthouse -
Puffing Billy Railway
Number Plate - 6A, 2010
Replica of a Victorian Railways replacement number board that 6A carried in the later 40's and 50's. This plate was created for the preservation society's reenactment trains in 2012 for the 50 year celebration of reopening to Menzies Creek. Loco: 6A In service Thursday, 18th July 1901 Livery Green Owner Puffing Billy Gauge 762 Status Preserved - Operational 6A Built in 1901 and painted two-tone green, this locomotive was issued to the Colac to Beech Forest line and was used in that line’s construction. Over the years, it saw service on all four lines, but mostly on the Colac to Crowes and Upper Fern Tree Gully to Gembrook lines. It was temporarily withdrawn from service in 1958 and returned to service at Belgrave in 1962 for the reopening of this line where it saw almost continuous service until being withdrawn in 1983. It has been restored, as far as possible, to its original condition with original design side tanks, low bunker, original size windows, etc., but a steel cow-catcher in place of the original style wooden one. It also has its original colour scheme of two-tone green with white lining.Historic - Replica Victorian Railways Locomotive Number Plate of the type used on Steam Locomotive 6A in the later 40's and 50's created for the preservation society's reenactment trains in 2012 for the 50 year celebration of reopening to Menzies Creek. Number Plate 6A Cast aluminum replica number board.6Apuffing billy, menzies creek, 6a, number plate -
Puffing Billy Railway
7A Number Plate
Replica of a Victorian Railways replacement number board that 7A carried in the later 40's and 50's. This plate was created for the preservation society's reenactment trains in 2012 for the 50 year celebration of reopening to Menzies Creek. Loco: 7A In service Saturday, 6th May 1905 Livery Maroon Owner Puffing Billy Gauge 762 Status Preserved - Operational 7A Built in 1905 and painted Canadian red & dark brown, this locomotive was issued to the Wangaratta to Whitfield line and saw service on all four lines with most of its service on the Upper Fern Tree Gully to Gembrook line. It was temporarily withdrawn from service in 1958 and returned to service at Belgrave in 1962 for the reopening of this line where it has seen almost continuous service since. 1979 saw the early two-tone green colour scheme applied to this loco as a trial even though it never historically carried it, but its physical configuration was not altered accordingly. It is now painted its original livery of Canadian red & dark brown and will eventually be returned, as far a possible, to its original condition with a low bunker, narrow ash-chute, etc.Historic - Replica Victorian Railways Locomotive Number Plate of the type used on Steam Locomotive 7A in the later 40's and 50's created for the preservation society's reenactment trains in 2012 for the 50 year celebration of reopening to Menzies Creek Number Plate 7A Rectangular black and white number plate. Cast aluminum replica number board.7Apuffing billy, 7a, number plate -
Tatura Irrigation & Wartime Camps Museum
Book, Kay Dreyfus, Silences and Secrets: The Australian Experience of the Weintraubs Syncopators, 2013
(From back cover): "The Weintraubs Syncopators, international musical celebrities of the 1930s, embarked on a four-year journey across Europe, Russia and the Far East in exile from the antisemitic ideologies of the German Third Reich. This band of mainly Jewish musicians arrived in Sydney, Australia, in 1937. The decision of some of them to stay brought them into conflict with the aggressively protectionist Musicians’ Union of Australia. They gained employment at a high-end Sydney nightclub but when war came, were forced to come to terms with a change in their status – from celebrities to enemy aliens. Denounced for alleged espionage activities in Russia, three were interned and the band broke up. In this major recounting of the experience of the Weintraubs Syncopators, Kay Dreyfus pieces together the complex personal, social and political forces at work in this story of migration at a time of insecurity, fear and dramatic conflict." The Tatura group of camps were built after the beginning of World War 2, and held prisoners of war (enemy military) and civilian internees (enemy nationals, regardless of political affiliation, either living in Australia or in Allied territories overseas). The Weintraubs Syncopators' members were just some of the civilians caught up in the conflict. Paperback book. Glossy black front cover, black & white photo of group of musicians. Blue & white text. Back cover glossy white, black & white photo group of men standing over bass drum labelled "Weintraubs Syncopators". 305 pages. Dewey no. 781.65092weintraub, camp 1, tatura, internment camps, civilian internees, jazz, jewish community, world war ii, musicians, stefan weintraub, horst graff -
Nillumbik Shire Council
Sculpture: Tony Trembath (b.1946 Sale, Victoria), Tony Trembath, The Fences Act 1968 - Location: Edendale Farm (entrance) 30 Gastons Road, Eltham, 1989 - 1994
Eltham Council (now the Shire of Nillumbik) commissioned this work in 1989 to create an entrance / gateway to Edendale Community Farm. It was also aided by a grant from the Ministry of the Arts (now Arts Victoria). The former name of this work was "Gateway to Edendale Farm". Edendale Farm is a demonstration farm modelling sustainable environmental practices, providing support to the local residents of Nillumbik. Established in 1986, the land was purchased in 1970. It was previously an English gentleman's residence and was used for grazing. It consists of 5.6 hectares, with the Diamond Creek meandering through the property. The Victorian Fences Act 1968 governs liability of occupiers of adjoining lands to fence, and deals with disputes between neighbours regarding boundaries fences and costs. This work took into consideration ideas and suggestions from residents and committees, who required the use of recycled materials and that the work celebrate man's relationship with nature, animals and the earth, as well as relate to the fence-line on the far side of the carpark. Trembath also absorbed significant aspects of local history, making references to Eltham's agricultural past, the clearing of the land, the destruction of trees, the ruthless pruning of trees by suburban Councils and incorporated such Australian features as the post and rail fence. 'The Fences Act 1968' is significant for aesthetic, historic and social reasons at a regional level. It makes prominent the historical and social significance of Edendale and the rural aspects of Nillumbik. The use of existing tree stumps and salt pots in the work explores the iconography of the countryside such as the isolated farmhouse, pioneering farming practices, post and rail fencing and the regrowth of lopped trees. The title of the work, as well as the extensive community involvement in its creation, also makes reference to the Victorian Fences Act 1968, which makes neighbours jointly responsible for the cost of construction and maintenance of fences in the partitioning of land for settlement. 'The Fences Act 1968' has been classified as of regional significance by the National Trust of Australia. The work is an installation of wood and metal, approximately twenty five meters long. The design is very informal and rustic and runs the full width of the fence-line. It comprises groups of recycled tree trunks fitted with metal caps (chrome-nickel 'salt pots' that are shaped like tall bowler / top hats). Metal rods protrude from the trunks and some of these rods have metal birds. Two larger, sentinel-like stumps at the two outer ends have metal flame-like wings, which bend inward. To the left of the entrance, a simple architectural element indicates an isolated farmhouse. The rustic fence runs between the groups of tree trunks with native planting in clumps along it. The fence-line incorporates a functional engineered double gate and post and rail fencing. There may be many interpretations of the work and the intention is to stimulate interest and imagination rather than alienate. Interpretation is based on the personal experience that a visitor brings. The artist recommended that no explanation of the design logic be positioned with the work. N/Apublic art, sculpture, edendale, recycled, wood, metal, fences act 1968, gate, trembath, salt pot, tree stumps -
Plutarch Project
Projector tripod stand, circa 1950's
From January 1959 and until 1982, “Cosmopolitan Motion Pictures”, owned by Mr Peter Yannoudes (Παναγιώτης Γιαννούδης) and Mr Stathis Raftopoulos (Στάθης Ραφτόπουλος) travelled around Australia to entertain the Greek, Turkish, Indian and Yugoslav speaking population of Australia and provide a significant cinema culture. They travelled as far as Perth in WA, Adelaide in SA, Tasmania, Darwin in Nt, Canberra in ACT and Sydney and NSW. However they found themselves also in places like Berri and Renmark in NSW, where concentrations of migrants lived and thrived during the period. Initially they were travelling by train, carrying all their equipment by hand and placing them in boxes and suitcases. However after 1962 when they acquired their first automobile, travelling became less of a burden, nevertheless cumbersome and laborious. They carried with them initially two portable projectors (second one as a backup) and at times travelled with a third in order to ensure that technology will not be letting them down at the time of film projection. At times the films were projected onto a white sheet of cloth because there was no proper screen to project it on at the venue they were using. This projector stand was the actual projector stand used in their trips around Australia.Historic and rarity (only one left that was used by "Cosmopolitan Motion Pictures") Primary significanceMetal construction Projector tripod with a cloth on top to stop damaging the projectors. It has an adjustable height depending that extends to about 1.5 metres.T.J.N. Macey - Toolmaker and Manufacturing Engineerstand, tripod, projector, film, culture, language, greek, entertainment, yiannoudes, γιαννούδης, τρίποδο -
Plutarch Project
Film rewinder, circa 1950's
From January 1959 and until 1982, “Cosmopolitan Motion Pictures”, owned by Mr Peter Yannoudes (Παναγιώτης Γιαννούδης) and Mr Stathis Raftopoulos (Στάθης Ραφτόπουλος) travelled around Australia to entertain the Greek, Turkish, Indian and Yugoslav speaking population of Australia and provide a significant cinema culture. They travelled as far as Perth in WA, Adelaide in SA, Tasmania, Darwin in Nt, Canberra in ACT and Sydney and NSW. However they found themselves also in places like Berri and Renmark in NSW, where concentrations of migrants lived and thrived during the period. Initially they were travelling by train, carrying all their equipment by hand and placing them in boxes and suitcases. However after 1962 when they acquired their first automobile, travelling became less of a burden, nevertheless cumbersome and laborious. They carried with them initially two portable projectors (second one as a backup) and at times travelled with a third in order to ensure that technology will not be letting them down at the time of film projection. At times the films were projected onto a white sheet of cloth because there was no proper screen to project it on at the venue they were using. This winder was part of the equipment they carried around Australia Historical significance Primarily as it is the actual unit used to manually rewind all films.A film rewinding gadget, perhaps home made, with a wooden base, two reels, and an metal winder used for transferring the film from one reel to the next."Premier - Made in England"winder, film, entertainment, language, greek, yiannoudes, γιαννούδης, plutarch -
Whitehorse Historical Society Inc.
Photograph, Mitcham Football Club 1903, C1903
Comments by Mr. Jeff Walker, Sunday Sept %th 1983. Mr. E.E. Walker JP Managing Director, ATT Co Ltd on Right corner of photo. Mr. A.M. Donald Walker left hand side. Mr. J.S. Stan Walker with cap, 4th to left of EE his father. Mr. E.F. Walker - front row at the right with flag. Mr. Mark Smith to right of E.F. Billie White to right of E.E. (white hat) Mick McDonald top left of E.E (boxer hat). Abe Kay the boxer to left of EEW and Billie White. Jack Crew to left in front (hand on knee). (FG) Fred Allen, Captain with ball in hand (1903). Bob Halliday to left of my father, Lionel Walker (face not showing) far left. Bill Kennedy, brother-in-law of Pat McDonald (of hotel) at the back of my father and Bob Halliday. I think the young chap between Mr. ee amd Mick McDonald is my eldest brother Bill, he and JS were pals. Bill Bewley and the Makim Brothers are there I'm not sure of the others.Black and white photo of Mitcham Football Club 1903 (see history).makin, bewley, kennedy, walker, smith, white, mcdonnell, kay, crew, allen, halliday, mitcham football club -
Port Fairy Historical Society Museum and Archives
Photograph, 1921
HMAS Huon berthed at the wharf in Port Fairy Nov 1921. HMAS Huon (D50), named after the Huon River, was a River-class torpedo-boat destroyer of the Royal Australian Navy (RAN). Originally to be named after the River Derwent, the ship was renamed before her 1914 launch because of a naming conflict with a Royal Navy vessel. Huon was commissioned into the RAN in late 1915, and after completion was deployed to the Far East. In mid-1917, Huon and her five sister ships were transferred to the Mediterranean. Huon served as a convoy escort and anti-submarine patrol ship until a collision with sister ship HMAS Yarra in August 1918 saw Huon drydocked for the rest of World War I. After a refit in England, Huon returned to Australia in 1919. The destroyer spent several periods alternating between commissioned and reserve status over the next nine years, with the last three spent as a reservist training ship. Huon was decommissioned for the final time in 1928, and was scuttled in 1931 after being used as a target ship. She visited Port Fairy on a goodwill trip in November .Black and white photograph of naval ship berthedship, boat, sea, river, h.m.a.s.huon, moyne, naval ship -
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 -
City of Kingston
Photograph - Black and white, 1909
In 1880, the Melbourne Benevolent Asylum launched an appeal to raise funds to relocate away from the inner city. The location in North Melbourne was considered a great risk for the residents, particularly the 'old and feeble', in the event of an epidemic. In 1887, the secretary to the Premier of Victoria wrote to the Asylum, suggesting Frankston as a possible alternative to North Melbourne. The Asylum committee considered Frankston to be too far away. The Royal Commission into Charitable Organisations (1890) strongly recommended Cheltenham as the preferred location but the government failed to act on that recommendation. Former Asylum committee member, Mr James Hingston, bequeathed £25,000 to the Asylum on his death in 1902. After many more years of toing and froing, the foundation stone for the new asylum at Cheltenham was laid in 1909. It was almost two years later that the transfer of residents from North Melbourne to Cheltenham began. The move happened in stages over three days, with the first group of residents to move to Cheltenham being 125 women from the invalid wards. The Asylum continued to operate throughout the 20th Century and, in 1970, was renamed the Kingston Centre. The focus of services also changed. This photograph captures the laying of the foundation stone in 1909.Black and white image depicting a large group of citizens gathered to watch the laying of the foundation stone for the Benevolent Asylum in Cheltenham. There is a raised platform with a group of men dressed in suits standing on it. These appear to be the dignitaries for the day. There are flags flying in the background, others standing on poles at the corners of the raised platform. Handwritten in red ink on reverse: 50%cheltenham, charity, north melbourne, welfare -
Melbourne Legacy
Postcard, Thoughts in Absence, c1917
Sometimes called a sweetheart postcard, it was a way of sending thoughts to the troops overseas. The poem on the front, with the image of a woman writing to her loved ones, says: "In distance we are far apart . . . / Yet loving thoughts can span the ocean blue / And warm good wishes sent in fond remembrance / Speed swiftly o'er the sea from me to you.' The British, Australian and French flags and Australia wattle provide more symbolism, the horseshoes for luck, and a hand shake. Was with other World War 1 memorabilia that has come from Private John Basil McLean, 2nd Reinforcements, 37th Battalion, A.I.F. There was a large collection of postcards so he may have been collecting them as souvenirs. J.B. McLean (Service No. 13824) was from near Maffra, Victoria and enlisted on 22 January 1916. He embarked on 16 December 1916 for Europe. His full war record is available from AWM. He spent time with the Australian Field Artillery (Pack Section). At the end of the war he worked for a year at the A.I.F. Headquarters in London before returning to Australia on the 'Ceramic', arriving in Portsea in 1920.A record of correspondence with the troops in World War 1 and sending good wishes with a hamper. This type of experience would have been familiar to the first Legatees as they had served in World War 1.Postcard with a lady writing and men fighting, horseshoes and wattle.world war one, souvenir -
Marysville & District Historical Society
Postcard (item) - Black and white postcard, Rose Stereograph Company, Talbot Drive, Marysville, Vic. No. 12, Taggerty River, 1913-1967
A postcard in a series produced by the Rose Stereograph Company in Victoria, Australia as a souvenir of Marysville.A black and white photograph taken along Lady Talbot Drive, Marysville, Victoria, of the Taggerty River. Lady Talbot Drive a 24 kilometer scenic rainforest car journey which passes a number of walks and waterfalls in the Yarra Ranges National Park. Lady Talbot Drive is named after Lady Sarah Elizabeth, the wife of Sir Reginald Talbot, who was the Governor of Victoria from 25th April, 1904 to 6th July 1908.POST CARD Correspondence Address "Kooringa"/ Marysville/ Monday Dear Gwen, Kids/ I do hope your missing me especially/ around morning & afternoon tea time./ Its a hard place here with tons to eat so/ I'll probably stagger back to 31 King St-/ awful thought. The weather has been beaut/ so far - it rained the first Sunday, last/ Wednesday, but otherwise has been O.K. Its/ just as well I didn't get my togs, Lorna, the/ pool is empty. I'd sure like a swim today/ though. Ive got to write a letter to my/ Honeybunch so I'd better finish. Goodbye Kids,/ Love/ Gwen.marysville, victoria, taggerty river, postcard, souvenir, lady talbot drive, sir reginald talbot, sarah elizabeth talbot, southern cross series, 2317 -
The Beechworth Burke Museum
Animal specimen - Satin Flycatcher, Trustees of the Australian Museum, 1860-1880
The Satin Flycatcher is a small and energetic bird commonly found along the east coast of Australia from far northern Queensland to Tasmania. They are also located in south-eastern South Australia and New Guinea. These birds prefer to reside in tall forests and are fond of wetter habitats like forested gullies but not rainforests. These birds are dimorphic, meaning male and females have distinct forms. The male Satin Flycatcher is blue-black in colouring while the female are brown-grey with a distinct orange band on the chin, neck and breast. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This female Satin Flycatcher is stylised on a wooden platform with a paper tag attached to its leg. This specimen has small glass eyes, wings positioned to its sides and a long straight tail. The colouring on this bird is a brown-grey and cream colour. It has patch of orange feathers on the neck and chin which identify the gender of this specimen. The male has glossy blue-black colouring and lack the orange plumage.33A. / Shining Flycatcher - See Catalogue, Page 13. / 50 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, satin flycatcher, small bird, flycatcher -
Warrnambool and District Historical Society Inc.
Document, Warrnambool New Brewery, 1870s
This is an invoice sent from the Warrnambool New Brewery (Walter Sheldrick & Co.) to Captain Selby. The Bill was for two dozen ales ordered on November 4th 1873 and for 6 dozen ales ordered on November 24th 1873 (cost £6-18-0). The bill was paid in February 1874. The Warrnambool New Brewery was established in 1868 by a company headed by a Warrnambool butcher and hotel proprietor, Walter Sheldrick. It was at the corner of Timor and Fairy Streets. After the first year the company was wound up and Walter Sheldrick and Thomas Price and, initially, two other partners, continued on the business. Sheldrick died in 1876 and his son Richard took over the business. By 1892 he had left the business and the brewery was operated by Edward Price, Edmund Hutton and William Trigg. In 1894 the brewery was sold and continued on until it was closed in 1922. The labels of Warrnambool Sheldricks ales had been known throughout the Western District for over 50 years. Captain Selby came to Warrnambool in the late 1860s and lived at ‘Clifton’ on the banks of the Hopkins River not far from the mouth if the river. He was a keen sportsman and was prominent in the Anglers Society, the Rowing Club (as President) and the Gun Club (pigeon shooting).As this is an original 1873 docket it is of considerable interest. It refers to the Warrnambool New Brewery, a prominent business in Warrnambool for over 50 years and to Captain Selby, well-known at the time in sporting circles. We have a good collection of other Captain Selby dockets. This is a buff-coloured piece of paper, an 1873 invoice sent from the Warrnambool New Brewery (Walter Sheldrick and Company) to Captain Selby of Warrnambool. The docket has printed red lines and both printed and handwritten material in black ink. The page has one small tear.warrnambool, walter sheldrick, captain selby, warrnambool new brewery, sheldrick ales -
Eltham District Historical Society Inc
Photograph, Brocksopp House (1860)
Image No. 1 Brocksopp House erected about 1860 Originally known as Souters Cottage Eltham's first mud brick building Falkiner's Cottage The Alistair Knox Collection The Alistair Knox Collection is a series of mounted enlarged photos of mud brick houses and related subjects. The collection is understood to have been put together by Alistair Knox although it is the work of several unacknowledged photographers. For some years it was held by the Building Department of the former Eltham Shire Council and was then passed to our Society for safekeeping. Some of the photos have been used in Knox's books and from time to time some of them have been part of various historical displays. As far as we know there has not been a public display of the whole collection which numbers about forty photographs. The collection has been copied on to slides for the purpose of this meeting and to be retained as part of the Society's pictorial collection. Alistair Knox 1912 - 1986 is acknowledged as the founder of Eltham's mud brick building movement. Many of the buildings shown in the collection are of his design and he was also involved with the construction of several of them. Others are the work of his contemporaries and associates such as Peter Glass, Gordon Ford, and John Harcourt. (EDHS Newsletter No. 145 July 2002)Handwritten notes in pencil re details of building, year of construction, owner, designer, builder, etcaistair knox collection, brocksopp house, falkiner cottage, houses, mud brick construction, souters cottage -
Eltham District Historical Society Inc
Photograph, Pise cottage, Montsalvat (1935-1936)
Image 2B Montsalvat Early Pise cottage built 1935-36 designed by Justus Jorgensen The Alistair Knox Collection The Alistair Knox Collection is a series of mounted enlarged photos of mud brick houses and related subjects. The collection is understood to have been put together by Alistair Knox although it is the work of several unacknowledged photographers. For some years it was held by the Building Department of the former Eltham Shire Council and was then passed to our Society for safekeeping. Some of the photos have been used in Knox's books and from time to time some of them have been part of various historical displays. As far as we know there has not been a public display of the whole collection which numbers about forty photographs. The collection has been copied on to slides for the purpose of this meeting and to be retained as part of the Society's pictorial collection. Alistair Knox 1912 - 1986 is acknowledged as the founder of Eltham's mud brick building movement. Many of the buildings shown in the collection are of his design and he was also involved with the construction of several of them. Others are the work of his contemporaries and associates such as Peter Glass, Gordon Ford, and John Harcourt. (EDHS Newsletter No. 145 July 2002)Handwritten notes in pencil re details of building, year of construction, owner, designer, builder, etcaistair knox collection, houses, justus jorgensen, montsalvat, pise construction