Showing 1453 items
matching metalcraft-bronze
-
Federation University Art Collection
Print - Artwork, David Frazer, The Text Message [study] by David Frazer, 2015
David FRAZER (1966- ) Born Foster, Victoria, Australia David Frazer works in painting, wood engraving, etching, lithography and bronze. He studied a B.A. Fine Arts (Painting) at Phillip Institute of Technology, followed by a Diploma of Education (Secondary- Art/Craft) at Latrobe University in 1991. He completed an Honours Degree in Fine Art (Printmaking (at Monash University in 1996, and between 1998 and 2000 Frazer undertook a Master of Arts (Visual Arts) by research: “Pastoral Melancholia”, at Monash University. One of Austalia's foremost printmakers David Frazer's highly detailed woodblock and linocut prints often explore the emotional and fragile state of the human condition. His work offers a nostalgic image of Australia through its examinations of landscape, Australian buildings, sheds, and itinerant travellers. He has held seven solo exhibitions between 1996-2006 in Melbourne, Sydney and a survey show curated by the Horsham Gallery, which toured Victorian regional galleries from 2004-2005. David Frazer’s work was seen in 37 group exhibitions between 1996-2006 including the 5th British International Miniature Print Exhibition in the UK, in the 2003. He more recently held a solo exhibition with Rebecca Hossack in London 2011. (http://www.thestockrooms.com/, accessed 06/03/2015) David was awarded the Keith Wingrove Bookplate Design and in 2002.Framed limited edition linocut on paper.lls '2/36' lc 'The Text Message (study)' lrs 'D. Frazer 15'artist, artwork, david frazer, parallel prints, printmaking, linocut -
Federation University Art Collection
Artwork - Bookplates, Suit of wood engraved bookplates by David Frazer
David FRAZER (1966- ) Born Foster, Victoria, Australia David Frazer works in painting, wood engraving, etching, lithography and bronze. He studied a B.A. Fine Arts (Painting) at Phillip Institute of Technology, followed by a Diploma of Education (Secondary- Art/Craft) at Latrobe University in 1991. He compled an Honours Degree in Fine Art (Printmaking( at Monash University in 1996, and between 1998 and 2000 Frazer undertook a Master of Arts (Visual Arts) by research: “Pastoral Melancholia”, at Monash University. David Frazer’s work offers a nostalgic image of Australia through its examinations of landscape, Australian buildings, sheds, and itinerant travellers. He held seven solo exhibitions between 1996-2006 in Melbourne, Sydney and a survey show curated by the Horsham Gallery, which toured Victorian regional galleries from 2004-2005. David Frazer’s work was seen in 37 group exhibitions between 1996-2006 including the 5th British International Miniature Print Exhibition in the UK, in the 2003. He more recently held a solo exhibition with Rebecca Hossack in London 2011. (http://www.thestockrooms.com/, accessed 06/03/2015) These two wood engravings are the subject of the forthcoming Private Press book: ‘The Bookplates of David Frazer’ written by Robert C. Littlewood, The Lytlewode Press, Chateau Bosgouet, Normandie, France, 2014/2015. david frazer, bookplate, wood engraving, printmaking -
Flagstaff Hill Maritime Museum and Village
Instrument - Scale, 1900-1930
The basic balance scale has been around for thousands of years and its accuracy has improved dramatically over the last several centuries, the principle behind this tool remains unchanged. Its parts include a fulcrum, a beam that balances on it, a pan at the end of the beam to hold the materials to be weighed, and a flat platform at the other for the counter-balancing weights. Balance scales that require equal weights on each side of the fulcrum have been used by everyone from apothecaries and assayers to jewellers and postal workers. Known as an unequal arm balance scale, this variety builds the counterweight into the device. Counter scales used in dry-goods stores and domestic kitchens often featured Japanned or (blackened) cast iron with bronze trims. Made by companies such as Howe and Fairbanks, the footed tin pans of these scales were often oblong, some encircled at one end so bulk items could be easily poured into a bag. Seamless pans were typically stamped from brass and given style names like Snuff (the smallest) and Birmingham (the largest). Some counter scales were designed for measuring spices, others for weighing slices of cake. In the 18th century, spring scales began to appear and would use the resistance of spring to calculate weights, which are read automatically on the scale’s face. The ease of use of spring scales over balance scales. These scales are significant as they identify one of the basic preparation items for the weighing of foodstuff in the family kitchen to prepare everyday meals. This item is significant as it gives a snapshot into domestic life within the average home in Australia around the turn of the twentieth century and is, therefore, an item with social relevance. Black cast iron, medium weighing scales, with a fulcrum which the beam that balances on, there is a scoop or large bowl at one end for the material to be weighted and a flat platform at the other end that holds the weights. Around the cast iron base is an embossed strip weight and bowl missing.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village -
Eltham District Historical Society Inc
Photograph - Digital Photograph, Marguerite Marshall, Alan Marshall by Marcus Skipper (1995) outside Eltham Library, Panther Place, Eltham, 11 October 2006
Sculture in bronze of Alan Marshall by Marcus Skipper, 1995 Alan Marshall, AM., O.B.E., Hon.LL,D. (1902-1984) was born at Noorat, Victoria and became one of Australia's most famous authors. His association with the Eltham area began in 1920 when he started his first job as a junior clerk at the Eltham Shire Offices, Kangaroo Ground. In the 1940's he spent some time living at Research. From 1955 he lived in Eltham for nearly 20 years. Disabilities resulting from polio as a young child did not prevent a wide range of experiences. Alan's occupations have been listed as clerk, night watchman, fortune teller, freelance journalist and author. He has been patron of many disadvantaged Children's Societies. Alan's books are numerous and include novels, short stories, children's books, history and travel. Among the best known are his autobiographies "I Can Jump Puddles" and "This is the Grass". Others include "These are My People", "Ourselves Writ Strange", "People of the Dreamtime"; "The Gay Provider" and "Wild Red Horses". In 1971 he wrote the Centenary History of the Shire of Eltham, "Pioneers and Painters". Covered under National Trust of Australia (Victoria), State significance. Published: Nillumbik Now and Then / Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p159This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, alan marshall, art in public places, eltham, eltham library, marcus skipper, panther place, public art, sculpture -
Eltham District Historical Society Inc
Photograph, Fay Bridge, EDHS Heritage Excursion Eltham Cemetery, 5 March 2016
The Eltham Cemetery Trust, established in 1858, selected the existing burial site at Mount Pleasant Road on high ground overlooking the village of Eltham. The first recorded burial took place in 1861 in the Church of England section. Headstones depict the names of many early and well known local families. On Saturday 5th March 2016 Harry Gilham again lead members and visitors on a heritage excursion through parts of the cemetery, while providing background information on selected individuals buried there. Harry’s cemetery walks have always been popular, and members and visitors were encouraged to come along and experience the tranquil surroundings of this picturesque cemetery. We were also able to view the recently installed sculpture titled ‘A Currawong Takes Flight’ by Michael Wilson located at the highest point of the fence-lined border between Montsalvat and the cemetery. It is close to the last bronze sculpture by Matcham Skipper, titled ‘Young Man Awakening’, commissioned by the Eltham Cemetery Trust to celebrate the 150th Anniversary of the cemetery in 2008. As an addition, we also met the artists and stonemason and given a brief background into the Trust’s newest art project installation titled “Our Eltham – Artistic Recollections” which will feature ceramic panels containing artwork with a local history theme. The work is the joint creation of artist Nerina Lascelles and ceramicist Linda Detoma, supported with stonework by Leigh Wykes and steelwork by Neil Carter, all skilled local Nillumbik artisans.fay bridge collection, 2016-03-05, eltham cemetery, geoff watt, jim connor, leigh wykes, linda detoma, nerina lascelles, young man awakening, harry gilham -
Flagstaff Hill Maritime Museum and Village
Clothing - Jacket, before April 1874
THE JACKET This jacket has been tailored to flatter the wearer’s figure. It also has elements that keep it in good shape and condition, preserve it from soiling and give it a longer life: - the hooks and eyes that join the jacket to the skirt allow the outfit to be made in two pieces but fit close to the body without exposing undergarments - the seams for the metal stays have been cut and stitched to allow maximum movement of the wearer and still keep a trim figure - the discreet breast pocket allows the wearer to keep a handkerchief, coins or other small items close at hand - the lining includes removable padded shields to absorb underarm perspiration - the lining has two cotton loops attached for hanging up to air and freshen it - new cuffs have been attached over the original sleeves that have buttonholes but no buttons. The buttons may have been used to replace missing buttons on the front of the jacket or perhaps to repair worn cuffs The amber coloured satin jacket is fully lined, has turned-back cuffs, a band collar, and looped, coffee-coloured braid trim. A row of closely spaced, round bronze buttons with a floral motif form a decorative closure most of the way down the front of the jacket, below which are metal hooks and eyes that finish at the waist. Underneath the cuffs there is a closely fitted cuff with a row of three button holes but no buttons. The jacket lining has vertical metal stays spaced around the midriff, sides and back. There is an absorbent, removable pad hand-stitched to the underarm section of each sleeve opening. A small satin pocket is stitched discreetly onto the lining above the chest on the right-hand side. There are also two cotton loops sewn onto the lining. Several small metal rings are sewn at intervals around the inside of the waist A satin bow from the same fabric is attached at the centre back of the jacket at waist level. antique satin jacket, colonial evening jacket, ladies evening jacket, 19th century ladies satin jacket, evening outfit -
Melbourne Legacy
Medal, Australian Service Medal and Pacific Star Medal, 1949
The Australian Service Medal and Pacific Star Medal that were awarded to Private Arthur Norman Comben VX26251 for his war service in World War Two. From the AWM website Private Arthur N Comden of the 2/21st Australian Infantry Battalion, who died on Hainan Island, China, on 27 June 1945. The DVA records show he was born 6 April 1907 in Yarraville and enlisted on 17 June 1940 whilst residing in Coopers Creek Victoria. His next of kin was shown as H Dilks. Also that he had been a prisoner of war. His connection with Legacy is not known, he may have been a junior legatee though there's no record of his father Arthur John Louis Comben serving for Australia in WW1. More research is needed to check, it is possible the medals were donated to Legacy as no family members wanted them. Additional information provided by a distant relative - Arthur's mother (Mary Eleanor Norman) remarried twice after his fathers death in 1911. His stepfather Horace Dilks served in World War 1 with the 2nd Pioneer Battalion.These are examples of World War 2 medals awarded to a serviceman who participated in the conflict in the Pacific region. Many returned servicemen joined Legacy after World War 2 and would have had similar medals.Silver circular medal and bronze star shaped medal from World War 2 mounted on ribbons initially together by a safety pin. 01700.1 The medal is nickel silver with the crowned effigy of King George VI on the obverse. The reverse has the Australian coat of arms, placed centrally, surrounded by the words ‘THE AUSTRALIA SERVICE MEDAL 1939-1945’. The normal ribbon is missing and it is on the ribbon meant for the UK War Medal which is of red, white and blue to represent the colours of the Union Flag. 01700.2 The six–pointed star is yellow copper zinc alloy. The obverse has a central design of the Royal and Imperial cypher, surmounted by a crown. The cypher is surrounded by a circlet containing the words ‘The Pacific Star’. The ribbon has central yellow and green stripes that represent the forests and the beaches of the Pacific, flanked dark blue, light blue and red stripes that represent the service of the Naval Forces and Merchant Navy, the Air Forces and the Armies.Both engraved with 'VX26251 A. N. Comben'.medals, world war two, arthur comden -
Dandenong/Cranbourne RSL Sub Branch
Frame of "The Storey Begins", The Australian New Zealand Army Corps .....Lest We Forget
Gold painted wooden framed photograph of 'The Legend of Anzac" with 15 stories are displayed on a cut out on red background. -The Legend Begins -The Land and the Landing -The Chance of a Lifetime-Every Man A Volunteer -The Dardanelles -The Enemy Face- Johnny Turk -Making Do - Home Was Never Like This -An Informal Armistice -A new Landing - The Breakout -Dardanelles Committee -The Home Front -The New Enemy - Winter -Evacuation - The Great Deception -A.N.Z.A.C. Names and Places -Battle Honours, Flags, Drums and Medals -A.N.Z.A,C. … Lest WE Forget. Stating on the top left 2 Australian Medals Gallipoli Star Medal - Victory Medal (next) Rising Sun Badge NZ Expeditionary badge Victory Medal NZ Star Medal Australian Gallipoli Star Medal - The four medal star is bright bronze ensigned with a crown the obverse has cross gladius overlaid with oak wreath that is ensigned with the cypher of Ki ng George V. A scroll bearing the legend 1914-15 is centrally placed across the blades was authorised in 1918 and awarded for service in specified theatres of war between 5th Aug 1914 & 31st Dec 1915. Australian and New Zealand Victory medal is a United Kingdom and British First World War Campaign Medal. The award of a common allied campaign recommended in March 1919. The New Zealand Star Medal, designed R.K. Peacock, eight pointed star (representing NZ and the seven Territories of Australia) surrounding a silver disc with the words " Gallipoli 1914-15. -
Ballarat Tramway Museum
Photograph - Black & White Photograph/s and Digital Image, Wal Jack, No. 23 painted as the Gold Tram in 1951, at the corner of Sturt and Lydiard St, 1951
Yields information about Ballarat 's No. 23 operating as the Gold Tram in 1951 and the dates of operation.Black and white photograph of No. 23 painted as the Gold Tram in 1951, at the corner of Sturt and Lydiard St, looking south east, with a driver boarding the tram. Has the Commonwealth Bank building in the background. Wal Jack photograph, 25-3-1951. Photo used on page 9 of Destination Eaglehawk. See Reg Item 3583 for a copy negative of this photograph. 4185.1 - digital image of the same photograph from the Wal Jack Album - see image i3 and i4 for the rear of the photo. Image i5 scanned from original 125 size negative - added 11/7/2020On rear in ink "SEC Ballarat 9263# No. 23 (ex Adelaide "A" 69) painted golden bronze in connection with the Gold Centenary 1851 - 1951. Car ran from 16/3/1951 to Easter Monday 26-3-1951. Snapped in Sturt St (tram centre), Easter Monday 25-3-51 Wal Jack Photo T1/PC." In bottom left hand corner - stamped "Traction Publications, PO Box 438 Canberra (City) ACT" .1 - on rear in ink "SEC Ballarat No. 23 painted gold for Gold Centenary 1951. Ran from 16/3/1951 to Easter Monday 26-3-1951. Snapped in Sturt St (tram centre), Easter Sunday 25-3-51 Wal Jack Photo T1/PC."tramways, trams, sturt st, gold tram, gold, centenary of gold, decorated trams, tram 23 -
4th/19th Prince of Wales's Light Horse Regiment Unit History Room
Medal, War Medal 1939-45
The War Medal 1939-45 was awarded for full-time service in the Armed Forces, wherever that service may have been rendered during the war. Operational and non-operational service may be counted, providing that it was of 28 days or more duration. Eligibility The War Medal 1939-45 is awarded for 28 days full-time service between 3 September 1939 and 2 September 1945. In the Merchant Navy there is a requirement that the 28 days should have been served at sea. A member qualifies for the award where service was brought to an end by death, wounds or other disabilities due to service or by cessation of hostilities on 2 September 1945. The War Medal 1939-45 is awarded to Australian Civilian Personnel who served afloat with the United States Army Small Ships Section between 8 December 1941 and 2 September 1945. Eligibility is the same as that for Merchant Navy personnel. See required evidence to support a claim. The Medal The War Medal 1939-45 is cupro-nickel with the crowned effigy of King George VI on the obverse. The reverse has a lion standing on a fallen dragon. The top of the reverse shows the dates 1939 and 1945. The Ribbon The War Medal 1939-45 ribbon colours of red, white and blue represent the colours of the Union Flag. Emblem The single bronze oak leaf Emblem signifying either a Mention in Despatches, King's Commendation for brave conduct, or a King's Commendation for valuable service in the air, will, if granted for service during World War II, be worn on the ribbon of the War Medal 1939-45.Full size and miniature medals with ribbons. Miniature has MID claspnilwar medal 1939-45 -
Federation University Art Collection
Print - Artwork - printmaking, 'Messenger' and 'Woe' by David Frazer, 2002
David FRAZER (1966- ) Born Foster, Victoria, Australia David Frazer works in painting, wood engraving, etching, lithography and bronze. He studied a B.A. Fine Arts (Painting) at Phillip Institute of Technology, followed by a Diploma of Education (Secondary- Art/Craft) at Latrobe University in 1991. He completed an Honours Degree in Fine Art (Printmaking (at Monash University in 1996, and between 1998 and 2000 Frazer undertook a Master of Arts (Visual Arts) by research: “Pastoral Melancholia”, at Monash University. One of Austalia's foremost printmakers David Frazer's highly detailed woodblock and linocut prints often explore the emotional and fragile state of the human condition. His work offers a nostalgic image of Australia through its examinations of landscape, Australian buildings, sheds, and itinerant travellers. He has held seven solo exhibitions between 1996-2006 in Melbourne, Sydney and a survey show curated by the Horsham Gallery, which toured Victorian regional galleries from 2004-2005. David Frazer’s work was seen in 37 group exhibitions between 1996-2006 including the 5th British International Miniature Print Exhibition in the UK, in the 2003. He more recently held a solo exhibition with Rebecca Hossack in London 2011. (http://www.thestockrooms.com/, accessed 06/03/2015) David was awarded the Keith Wingrove Bookplate Design and in 2002. These two wood engravings are the subject of the forthcoming Private Press book: ‘The Bookplates of David Frazer’ written by Robert C. Littlewood, The Lytlewode Press, Chateau Bosgouet, Normandie, France, 2014/2015. Two limited edition prints by David Frazer using the wood engraving technique. They have been framed together. .1) Messenger Wood Engraving Plate 10.0cm x 7.5cm Paper 29.0cm x 19.3cm Edition: 32/40 .2) Woe Wood Engraving Plate 10.0cm x 7.5cm Paper 29.0cm x 19.3cm Edition: 32/40 Donated through the Australian Government Cultural Gifts Programme by Katherine N. Littlewood, 2014artist, artwork, frazer, david frazer, wood engraving, framed bookplate, printmaking, bookplates, churchill, gippsland campus -
Melbourne Legacy
Photograph, Stan Savige Memorial, 2006
Photos of the unveiling of a memorial to Stan Savige in Morwell Victoria on 31st August 2006. It is a bronze bust mounted on a granite pedestal, it was installed in Legacy Place. The inscription on the front says: THIS MEMORIAL WAS ERECTED BY THE CITIZENS OF MORWELL TO HONOUR A GREAT HUMANITARIAN AND GREAT AUSTRALIAN Photos include the President of Legacy, Bill Rogers; Liza Price, Mayor of Morwell; Paul Buckley, La Trobe Valley CEO and a photo of Sir Stanley Savige KBE, CB, DSO, MC, ED. founder of Legacy who was born in Morwell 26.6.1890. He died 15.5.1954. The photos were sent to Legacy by Stan Wright. The inscription on the back (according to Monumentaustralia.org.au) says: A Distinguished Service Order (DSO) was awarded to Captain Stanley Savige, for conspicuous gallantry and devotion to duty during the retirement of Assyrian refugees from Sain Keleh to Tikkan Tappah between 26th and 28th July 1918; also at Chalkaman on the 5th and 6th August 1918. He was in command of a small party sent to protect the rear of the column of refugees who being hard pressed by the enemy. By his energy, resource and able dispositions the hostile troops, many of whom were mounted, were kept at a distance, although in greatly superior force. He hung on to position after position until nearly surrounded, but on each occasion extricated his command most skilfully. His cool determination and fine example under fire inspired his men and put heart into the almost panic stricken refugees, thereby averting what might have been a very serious situation.A record of a memorial to Stan Savige in his birthplace of Morwell.Colour photo x 8 of the Stan Savige memorial in Morwell.stan savige, memorial -
Glen Eira Historical Society
Article - MONASH, JOHN, SIR
This file contains three items concerning Sir John Monash. 1/A two-page letter distributed at a rare book week event on the 22/07/2014 to the Glen Eira Historical Society from Michael Headberry. The letter requests support for the John Monash Sculptural Commission by the Monash Pioneers, who are seeking to erect a bronze full figure portrait of Sir John Monash, Monash University’s namesake. Monash is connected to the city of Glen Eira, as Monash University has a campus in Caulfield and there are a number of streets named after him. The letter discusses the life of Monash and his many achievements. Details in another two pages are also given of the statue to be erected and there are two photos of a wax model of the proposed statue; plus a donation form. 2/An article by Dana McCauley dated 17/05/2015 entitled ‘Push to rename Ports’ about Caulfield lawyer and Liberal Kate Ashmor. The article discusses how she wants the electorate of Melbourne Ports to be named after Sir John Monash due to him being one of the most prominent Victorian Jews. There is a photo of Ashmor in fron of a statue of Monash. Newspaper not known. 3/An article from the Leader on the 30/06/2015 entitled ‘Exhibit’s unique view on Jews in WW1’. The author is unknown. The article discusses an exhibition at the Jewish Museum of Australia about the social history behind the Jewish support of the war effort. One item included in the exhibition is Isaac Cohen’s painting of Lieutenant General Sir John Monash and there is a photograph, by Andrew Henshaw, of this work above the article.monash university, monash john sir, caulfield, sir john monash, sculptural commission, clubs and associations, monash pioneers, correspondence, fundraising, universities, statues, armed forces, engineers, languages, art, pianos, diaries and journals, jewish community, world war 1914-1918, businesspeople, corlett peter, artists, sculptors, headberry michael, monash pioneers, project board, portraits, models, bridges, returned sailors and soldiers imperial league, ex-service organisations, st. kilda, leader, jewish museum of australia, rechter deborah, cohen isaac, ‘lieutenant general sir john monash’, portraits, national gallery of victoria, henshaw andrew, ‘true jews and patriots: australian jews and world war one’, shows and exhibitions, social history, ‘exhibit’s unique view of jews in wwi’, caulfield, ‘push to rename ports’, mccauley dana, political candidates, australian liberal party, ashmor kate, electoral boundaries, local government -
4th/19th Prince of Wales's Light Horse Regiment Unit History Room
Medal
The 1914–1918 Commemorative War Medal (French: Médaille Commémorative de la Guerre 1914–1918, Dutch: Oorlogsherinnerinsmedaille 1914–1918) was a Belgian commemorative war medal established by royal decree on 21 July 1919 and awarded to all members of the Belgian Armed Forces who served during the First World War that were eligible for the inter-allied victory medal.The Belgian 1914–1918 Commemorative War Medal was struck from bronze, it was 47 mm high by 31 mm wide, triangular shaped and with rounded sides. On its obverse, the relief left profile of a helmeted soldier within a 29 mm in diameter circular recess, the helmet adorned with laurels. Between the circular recess and the bottom left corner of the medal, the relief date "1914", in the lower right corner, the relief date "1918". In the upper point of the triangle, above the circular recess, the relief images of a lion rampant with an oak branch to its left and a laurel branch to its right. On the reverse, near the top, the relief image of a crown surrounded by the same branches as the lion on the obverse, below the crown, the relief semi circular inscription in French on two rows over the large relief dates "1914 – 1918", "MEDAILLE COMMEMORATIVE / DE LA CAMPAGNE", the inscription repeated in Dutch below the dates "HERDENKINGSMEDAILLE / VAN DEN VELDTOCHT" (COMMEMORATIVE MEDAL OF THE 1914 – 1918 CAMPAIGN).medal, belgium, ww1 -
Tennis Australia
Racquet, Circa 1934
A Wright & Ditson 'All American' model composite wood racquet with open throat and octagonal handle. Spiral-wrapped perforated grip tape sealed onto handle with plastic tape. Striped plastic reinforecments and bronze paint around shoulders. Green painted section on shaft with gold writing on obverse: WRIGHT & DITSON/CHAMPIONSHIP QUALITY and on reverse is manufacturer's name and icon. Manufacturer's name and racquet model also printed in cursive script across base of head on both sides of racquet. Leather end wrap and 'WD' printed on butt. On obverse and reverse, manufacturer's name is printed as decal across base of head. Obverse and reverse both feature model name and eagle symbol across shaft. On one side of shaft in green section:'PAT. NO.1664466'. At base of throat on each side of racquet is featured a shield symbol with letters: 'WD'. In marker on shoulder, probably owner's initials: HCP. Materials: Wood, Metal, Lacquer, Glue, Ink, Leather, String, Nylon, Plastic, Painttennis -
Bendigo Military Museum
Badge - BADGES, BOMBING of DARWIN, 1990-1992
Refer to the service of "BASIL DARBY" SX9423, 2/14 Bn.1. A round bronze colour badge, at top border - words "The Reunion", at bottom border - words - "60th Anniversary 2002". In the centre of the badge are two human head profiles, two spitfires, a ship and possibly a tank with big numerals '60' at bottom. 2. Oval brass coloured badge. On top border is the phrase '70th Anniversary' . At bottom border is the phrase - "Bombing of Darwin". In the centre are a flight of aircraft, tall and short humans and the phrase "1942 Front Line Australia". 3. This is a multi shaped badge. It has a stylised Rising Sun, superimposed on that is a dark red shape of Australia. Under that is a black enamel banner with the phrase "Darwin Defenders 1942-1945". 4. This is a shield shaped badge with a long mounting pin behind it. The shield is a green enamel. In the centre is an 8 pointed gold star. Set on a red background. In that centre is phrase "1992 50th Anniversary" in gold colour. Around the outside of the star is the phrase " The Battle of Australia 50th Anniversary 1992".1. On rear is stamped 1484.badges, bombing of darwin, anniversaries -
Eltham District Historical Society Inc
Photograph, Alan Marshall sculpture outside Eltham Library, c.1995, 1995c
[from EDHS Newsletter No. 104, September 1995:] ALAN MARSHALL SCULPTURE. In our last Newsletter brief mention was made of the bronze sculpture of Alan Marshall outside the Eltham Library. Sculptor Marcus Skipper has now completed the installation of his almost life-size work. The setting and location are ideal and Marcus has really captured the typical Marshall character. It has attracted much favourable comment since its completion. Most members are generally familiar with Alan's life and work but for those not so familiar and for the sake of the record we include these brief biographical details. Alan Marshall, A.M., O.B.E., Hon.LL.D. (1902-1984) was born at Noorat, Victoria and became one of Australia's most famous authors. His association with the Eltham area began in 1920 when he started his first job as a junior clerk at the Eltham Shire Offices, Kangaroo Ground. In the 1940s he spent some time living at Research. From 1955 he lived in Eltham for nearly 20 years. Disabilities resulting from polio as a young child did not prevent a wide range of experiences. Alan's occupations have been listed as clerk, night watchman, fortune teller, freelance journalist and author. He has been patron of many disadvantaged Children's Societies. Alan's books are numerous and include novels, short stories, children's books, history and travel. Among the best known are his autobiographies "I Can Jump Puddles" and "This is the Grass". Others include "These are My People", "Ourselves Writ Strange", "People of the Dreamtime", "The Gay Provider" and "Wild Red Horses". In 1971 he wrote the Centenary History of the Shire of Eltham, "Pioneers and Painters".Colour photographalan marshall, eltham library, marcus skipper, public art, sculptures -
Eltham District Historical Society Inc
Photograph, Alan Marshall sculpture outside Eltham Library, c.1995, 1995c
[from EDHS Newsletter No. 104, September 1995:] ALAN MARSHALL SCULPTURE. In our last Newsletter brief mention was made of the bronze sculpture of Alan Marshall outside the Eltham Library. Sculptor Marcus Skipper has now completed the installation of his almost life-size work. The setting and location are ideal and Marcus has really captured the typical Marshall character. It has attracted much favourable comment since its completion. Most members are generally familiar with Alan's life and work but for those not so familiar and for the sake of the record we include these brief biographical details. Alan Marshall, A.M., O.B.E., Hon.LL.D. (1902-1984) was born at Noorat, Victoria and became one of Australia's most famous authors. His association with the Eltham area began in 1920 when he started his first job as a junior clerk at the Eltham Shire Offices, Kangaroo Ground. In the 1940s he spent some time living at Research. From 1955 he lived in Eltham for nearly 20 years. Disabilities resulting from polio as a young child did not prevent a wide range of experiences. Alan's occupations have been listed as clerk, night watchman, fortune teller, freelance journalist and author. He has been patron of many disadvantaged Children's Societies. Alan's books are numerous and include novels, short stories, children's books, history and travel. Among the best known are his autobiographies "I Can Jump Puddles" and "This is the Grass". Others include "These are My People", "Ourselves Writ Strange", "People of the Dreamtime", "The Gay Provider" and "Wild Red Horses". In 1971 he wrote the Centenary History of the Shire of Eltham, "Pioneers and Painters".Colour photographalan marshall, eltham library, marcus skipper, public art, sculptures -
Eltham District Historical Society Inc
Photograph, Fay Bridge, Eastern boundary of former Warrandyte Aboriginal Reserve, North Warrandyte, 7 November 2016
Two bronze commemorative plaques on rocks, unveiled by Wurundjeri Tribe Council Elders, mark two eastern boundaries of the former Warrandyte Aboriginal Reserve on the north and south sides of the Yarra. This project was initiated by Nillumbik Reconciliation Group in close association with Reconciliation Manningham and the Wurundjeri Tribe Council, as a means of commemorating the last great corroboree of the Kulin Nation which was held at Pound Bend in March 1852. This plaque is on the Nillumbuk side of the Yarra, accessed via The Boulevard, North Warrandyte. The plaque is set on a rock approximately 50 metres before the turning circle at the end of The Boulevard. Plaque : Warrandyte Aboriginal Reserve This commemorative rock marks an eastern boundary of the former Warrandyte Aboriginal Reserve established in 1852. Centred on Pound Bend, it covered 1,908 acres on both sides of the Yarra River (Birrarung). That same year saw the last great gathering of the Kulin nation here in Wurundjeri country which was celebrated over two weeks with traditional performance and games. For a few years longer the reserve intermittently served as a ration station.With gold having been discovered at Warrandyte, the Wurundjeri were moved on again but ultimately secured a permanent home at Coranderrk, Healesville. A second commemorative plaque and rock is located on the opposite bank of the Yarra and its confluence with Stony Creek. Melway ref : 23 C 9 Unveiled by Wurundjeri Elder, Uncle Bill Nicholson on 23rd March 2013 Funded by the Robert Bridgford Indigenous Trust (Nillumbik Community Fund) with assistance from Manningham City Council Small Grants Program Ref: Monument Autralia https://monumentaustralia.org.au/themes/culture/indigenous/display/99680-warrandyte-aboriginal-reserve-fay bridge collection, 2016-11-07, aboriginal reserve, north warrandyte, plaques, warrandyte aboriginal reserve -
Bendigo Historical Society Inc.
Clothing - ALLAN MONAGHAN COLLECTION: TOKYO OLYMPIC BLAZER-1964
Clothing. Royal blue, single breasted blazer, with revere collar and three brass button front fastening. These three buttons and two smaller buttons on the sleeve cuffs, have the round sun symbol of Japan, and the Olympic Rings impressed into them. The breast pocket, with rounded lower corners has a cloth badge, 9.5 cm long X 6.5 cm wide, which is embroidered with a 5 cm diameter ball (of the sun) and five Olympic Rings in navy blue embroidery. One 20 cm long vent in lower centre back seam. Padded shoulders. Fully lined sleeves and front, while back is only lined across the shoulders. One inside pocket on each side front, has a button closure. Two pockets-22 cm long X 17 cm wide on either side of front, at lower edge. Single breasted. One small 1.4 cm diameter button, badge or Olympic pic, pin fallen from a blazer pocket. The button badge has a bronze like appearance, with impressed Japanese type characters on the surface. A pin type clasp at rear, thought to be a metal badge.All on inside of garment,right hand front. Toray® Toray Rayon Co. Ltd.Toray TETORON ® Riverloft ® Yarn Tailored by Mitsukoshi, Tokyo 1964. O Gold symbol Japan Olympic Rings 1964. Button have on underside: Tokyo 1964.costume, male, tokyo olympic blazer 1964 -
Flagstaff Hill Maritime Museum and Village
Artwork, other - Window, Brooks, Robinson & Co, Christ Showing the Helmsman the Way, circa August 1947
This round, stained glass window, titled "Christ Showing the Helmsman the Way", was installed in the St Nicholas Seamen's Church at 139 Nelson Place, Williamstown, Victoria. The window was referred to as the Sanctuary Window and was installed in the chapel above the altar. This memorial window has significance as a part of Victoria's War Heritage and is listed on the Victorian Heritage Database. The window was donated to St Nicholas Seamen’s Church as a memorial to the members of the Merchant Navy whose lives were lost in the Second World War, 1939-1945. The donor was the Williamstown Lightkeepers Auxiliary, an independent ladies association working with the Williamstown Missions to Seamen (the Missions to Seamen organisation was re-named the Mission to Seafarers in the year 2000). The window was officially dedicated on December 14, 1947 by Geelong's Anglican Bishop, Rt. Rev. J.D. McKie. In the early months of 1948 a bronze plaque was also placed in the chapel above the altar. It recognises the lost souls of the Merchant Navy during World War 2, as well as the donor of the window, the Williamstown Lightkeepers Auxiliary. The inscription impressed on the rectangular bronze plaque, 20.4 x 10.2cm, is as follows: “IN MEMORY OF THE MEMBERS OF THE MERCHANT NAVY WHO WERE LOST IN THE SECOND WORLD WAR 1939-1945 FAITHFUL UNTO DEATH. THE WINDOW ABOVE THE ALTAR WAS ERECTED BY THE WILLIAMSTOWN LIGHTKEEPERS AUXILIARY 1947.” The Williamstown St Nicholas Seamen’s Church ceased operation in 1966. In 1979 the Victoria Missions to Seamen donated this round, stained glass window and the memorial plaque to Flagstaff Hill Maritime Village, along with many other items and furnishings. These items have been used to simulate the Williamstown Mission and Chapel as much as possible. The round space that formerly displayed the window can still be seen at the back of the old St Nicholas Seamen’s Church, previously the ES&A bank, in Williamstown. THE MISSIONS TO SEAMEN (Brief History: for more, see our Reg. No. 611, Set of Pews) The Missions to Seamen, an Anglican charity, has served seafarers of the world since 1856 in Great Britain. It symbol is a Flying Angel, inspired by a Bible verse. Today there are centr4es in over 200 ports world-wide where seamen of all backgrounds are offered a warm welcome and provided with a wide range of facilities. In Victoria the orgainsation began in Williamstown in 1857. It was as a Sailors’ Church, also known as ‘Bethel’ or the ‘Floating Church’. Its location was an old hulk floating in Hobson’s Bay, Port of Melbourne. It soon became part of the Missions to Seamen, Victoria. In the year 2000 the organisation, now named Mission to Seafarers, still operated locally in Melbourne, Portland, Geelong and Hastings. The Ladies’ Harbour Lights Guild was formed in 1906 to support the Missions to Seamen in Melbourne and other centres such as Williamstown. Two of the most significant ladies of the Guild were founder Ethel Augusta Godfrey and foundation member Alice Sibthorpe Tracy (who established a branch of the Guild in Warrnambool in 1920). The Guild continued its work until the 1960s. In 1943 a former Williamstown bank was purchased for the Missions to Seaman Club. The chapel was named St Nicholas’ Seamen’s Church and was supported by the Ladies’ Harbour Lights Guild, the Williamstown Lightkeepers’ Auxiliary and the League of Soldiers’ and Sailors’ Friends. It ceased operation in 1966. A Missions to Seamen Chapel and Recreation Room was a significant feature of ports during the late 1800s and into the 1900s. It seemed appropriate for Flagstaff Hill to include such a representation within the new Maritime Village, so the Melbourne Board of Management of Missions to Seamen Victoria gave its permission on 21st May 1979 for the entire furnishings of the Williamstown chapel to be transferred to Flagstaff Hill. The St Nicholas Seamen’s Church was officially opened on October 11, 1981 and closely resembles the Williamstown chapel. This stained glass window is significant historically for its origin in the St Nicholas Mission to Seamen's Church in Williamstown, established in 1857 to cater for the physical, social, and spiritual needs of seafarers. It was donated to the Mission by the Lightkeepers Auxiliary (Ladies Harbour Lights Guild, which was formed in 1905). The Missions to Seamen organisation had its origins in Bristol, England when a Seamen's Mission was formed in 1837. The first Australian branch was started in 1856 by the Rev. Kerr Johnston, a Church of England clergyman, and operated from a hulk moored in Hobson’s Bay; later the Mission occupied buildings in Williamstown and Port Melbourne. The connection of this window the Mission to Seamen and the Ladies Harbour Lights Guild highlights the strong community awareness of the life of people at sea, their dangers and hardships, and their need for physical, financial, spiritual and moral support. This memorial window has significant as a part of Victoria's War Heritage and is listed on the Victorian Heritage Database, Heritage Number 196973.Window, stained glass, circular, with reinforcing bars. The window represents Christ showing the helmsman the way. It shows a man in blue knitted jumper holding onto a ship's wheel, looking over his right shoulder. Behind him stands a man in a white robe pointing to his right and looking to his left, his left hand gesturing to pause. The background has various shapes and patterns of blue glass, bordered by two arcs, the outer one is white, the inner one is red. This beautiful window is in our St Nicholas Seamen's Church Collection and was brought to Warrnambool from the original St Nicholas Seamen’s Church in Williamstown. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, mission to seamen williamstown, st nicholas seaman’s church williamstown, missions to seamen victoria, mission to seafarers, lightkeepers auxiliary, ladies harbour light guild, 139 nelson place williamstown, religion, religious service, sailors rest, bethel sailors’ church, bethel floating church, e. s. & a. bank williamstown, christ directing a sailor, christ showing the helmsman the way, quartermaster’s hand on the wheel, stained glass window, church window, religious window, sanctuary window, memorial window, war memorial window, victorian war heritage inventory, victorian heritage database, merchant navy ww2, 1939-1945, anglican church, bishop mckie, mrs musther, brooks robinson & co, flying angel club, williamstown lightkeepers' auxiliary, ladies' harbour lights guild, commemorative window -
Vision Australia
Image, Vision Australia Foundation Geelong-Illawarra Tilly Aston 15 Year Volunteer Service
This honour board was created in the International Year of the Volunteer 2001, to recognise volunteers who have completed 15 years of voluntary service and have received their Tilly Aston bronze medallion award. It was displayed at the Geelong/Illawarra office until refurbishment and the merger of VAF into Vision Australia. 1990: Joan Backwell, Margaret Belleville, Louise Carnegie, Elsie Clutterbuck, Lou Hayden, Jenny Heath, Dorothy MacRobert, Brenda McDermott, Daphne Smith, Beryl Whiteside, Maria Zoppolato. 1991: Audrey Anderson, Elsie Barkley, Ellen Bell, Hilary Blakiston, Bobbie Bowen, Sydney Brown, Beatrice Carpenter, Joyce Carr, Helen Carter, Bobby Clarke, Janette Cohen, Sheila David, Betty Dunk, Betty Fulton, Marjorie Gray, Margaret Hambling, Patricia Heath, Mary Honman, Lorna Humphreys, Agnes Hutchins, Phyllis Leach, Sue Leggatt, Marcelle Loughnan, Marjorie Nall, Gwenda Nielson, Marjorie Opie, Anne Prosser, Dorothy Ruxton, Fay Schmidt, Ann Stewart, Jo Swinburn, Lou Walley. 1992: Beth Hunter, Roma Vanrenan. 1993: Mary Dobson, Betty Hamilton, Dorothy Hirst, Trudi Johnston, Doreen Long, Rhoda Lovett, Joan Slade. 1995: Judy Britton, Eleanor McDonald, Leila Shinners, Joy McMillan. 1996: Judith Kelso, Barbara Shone. 1997: Dorothy Marriner, Anne Cahn, Molly Grove. 1998: Poss Collins, Pam Hodgson, Peg Hook. 2000: Mardi McCann, Barbara Carr, Kate Whitworth, Joan Walsh. 2001: Dawn McFarlane, Joyce McRae. 2002: Marion Duell, Bev Hussey. 2003: Alison Lawson, Joan Livingston, Barbara McKane 2004: Alice O'Brien 2005: Judi Idle, Margaret Coulson, Patricia Ryan International Year of the Volunteer 2001Wooden board with names of volunteers who completed 15 years of service at the Geelong officeassociation for the blind, vision australia foundation -
Flagstaff Hill Maritime Museum and Village
Domestic object - Glass
The art of making glass can be traced back to 2600 BC in Mesopotamia. Egyptians practised making glass around 2500 BC. Artificial glass first appeared in the Egyptian or the Mesopotamian civilization, whereas they used tools made out of volcanic glass obsidian in the Stone Age. Ancient China, however, discovered how to make glass a little later. Glass beads are known to be one of the earliest products made out of glass. Their creation is thought to be primarily accidental. In the later Bronze Age, glassmaking came to a halt. Glass was a luxury material back then. Archaeological excavations suggest the use of glass in England during the middle ages. In the 10th century, stained glass found a place in cathedrals and windows of palaces. After the Renaissance, architectural methods changed substantially, leading to a decrease in stained glass as a building material. Domestic use of glass increased following the industrial revolution. Vessels, glass windows, and glass beads gained popularity in Europe during this period. During the 19th century, many people preferred glass windows and doors as a decorative option. In the late 19th century, some designers brought back stained glass in decorative windows. It was during this period that Mr Tiffany discovered several methods to make domed glass handicrafts. People discovered the true versatility of using glass as a building material only in the 20th century. With glassmaking technology receiving an industrial boom, you could produce several different types of glass. Toughened glass, laminated glass, bulletproof glass, and smart glass all boosted the use of glass in buildings. Today, several skyscrapers, small and big homes, and offices use glass in almost all aspects of construction and design. https://www.aisglass.com/glass-made-step-step-process/The invention and development of glass, both as domestic items and in building, has been nothing short of revolutionary. Prior to the use of glass for windows, the interior of buildings were extremely dark, even during sunny days. The use of glass domestic objects, that could be easily washed, led to improved hygiene.Cylindrical drinking glass with stepped relief around lipNoneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, glass -
Flagstaff Hill Maritime Museum and Village
Domestic object - Butter Dish
The art of making glass can be traced back to 2600 BC in Mesopotamia. Egyptians practised making glass around 2500 BC. Artificial glass first appeared in the Egyptian or the Mesopotamian civilization, whereas they used tools made out of volcanic glass obsidian in the Stone Age. Ancient China, however, discovered how to make glass a little later. Glass beads are known to be one of the earliest products made out of glass. Their creation is thought to be primarily accidental. In the later Bronze Age, glassmaking came to a halt. Glass was a luxury material back then. Archaeological excavations suggest the use of glass in England during the middle ages. In the 10th century, stained glass found a place in cathedrals and windows of palaces. After the Renaissance, architectural methods changed substantially, leading to a decrease in stained glass as a building material. Domestic use of glass increased following the industrial revolution. Vessels, glass windows, and glass beads gained popularity in Europe during this period. During the 19th century, many people preferred glass windows and doors as a decorative option. In the late 19th century, some designers brought back stained glass in decorative windows. It was during this period that Mr Tiffany discovered several methods to make domed glass handicrafts. People discovered the true versatility of using glass as a building material only in the 20th century. With glassmaking technology receiving an industrial boom, you could produce several different types of glass. Toughened glass, laminated glass, bulletproof glass, and smart glass all boosted the use of glass in buildings. Today, several skyscrapers, small and big homes, and offices use glass in almost all aspects of construction and design. https://www.aisglass.com/glass-made-step-step-process/The invention and development of glass, both as domestic items and in building, has been nothing short of revolutionary. Prior to the use of glass for windows, the interior of buildings were extremely dark, even during sunny days. The use of glass domestic objects, that could be easily washed, led to improved hygiene.Moulded patterned glass butter dish. Base has been broken.None.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, glass, kitchen item, butter -
Warrnambool and District Historical Society Inc.
Badge - Badges x 8, Collection of various badges
These badges reflect various aspects of life in Australia and the many allegiance which people have to organisations from the Country Womans Association, to football clubs, with groups such as the Industries Protection league and Temperance groups such as the Band of Hope Union espousing interests and ideas in the early to mid 20th centurySocial significance001048.1 CWA badge Round metal badge with dark green rim surrounding monogrammed shield and gum leaf on either side. Victoria in bronze at top of shield. Stokes **** Melb on rear. 001048.2 British Red Cross. Round tin badge with Union Jack flag and red cross on left with text in banners below flag. 001048.3 Victorian Badge of Hope Union. Small button badge with cream background, brown text around edge with image of mother and child in blue tones in the centre 001048.4 St Kilda Football badge. Round tin plastic coated. White background with image of saint emblem on front on background of club colours. 001048.5 Coles Badge. Large button badge with bright blue background with image of lady in black and white in the centre. Text in black. 001048.6 Industries Protection League. Small cream plastic badge with outline of Australia inside a star. Brown boomerangs top and bottom. 001048.7 Junior safety Council. Oval metal badge. Black with brass text and artwork. 001048.8 S.S. Persis. Three dimensional with ship’s wheel at back in white and Australia and British flags in foreground with S.S. Persic on banner below flags. warrnambool history, industries protection league badge, band of hope union badge, s s persic badge -
Federation University Historical Collection
Photographs - Colour, Hillman Award Agreement and Presentation, 1991
Lindsay F.J. Hillman was born in Ballarat, and attended the Ballarat Junior Technical School. He became a cadet in Electrical Engineering Laboratory at the Ballarat School of Mines where he gained eventually gained a student Teachership for diploma studies at the School. Hillman was particularly active and excelled in a wide range of sporting interests and in student activities. In 1928 and 1928 he was awarded the Ballarat School of Mines Honour blazer by the Old Boys' association for all round athletic ability, leadership and scholarship. After spending two years with the Melbourne City Council Electric Supply Department gaining industrial experience Hillman was awarded his Diploma of electrical engineering in 1931, returning to the School in 1932 to teach apprentices and senior students. Hillman was appointed lecturer in Engineering Design and Graphics in 1937, lecturer in Engineering Design and Civil Engineering in 1944, Lecturer-in-Charge of Mechanical and Civil Engineering in 1948 and Head of the Electrical Engineering Department in 1949, a position he held until his retirement in 1973. In 1975 Lindsay Hillman was appointed to the Council of the Ballarat School of Mines and played an active role in school affairs.As Vice-President of Council from 1981 until his death in 1991 Hillman took a leading part in the implementation of many of the major building projects on the Lydiard Street Campus. The L.F.J. Hillman Award was established by the Ballarat School of Mines Council in conjunction with and through the generosity of the Hillman family in honour of the late Lindsay Frederick John Hillman. The bronze medal was presented annually to an enrolled student in an accredited course in the field of electrical/electronics studies at the Ballarat School of Mines. specific Criteria for the Award consisted of a balance of academic performance, leadership qualities, commitment to further study and involvement in sporting and/or community groups. The first Hillman Award was presented in 1991. The recipients are: 1991: Paul Donald 1992 - Brett A. Hovey 1994 - Brent L. Ferguson 1995 - Kirsty McKenzie 1996 - Peter J. WhiteEighteen colour photographs of the signing of the Hillman award agreement and the first presentation of the award in 1991 to Paul Donald . .2) Gregor Hillman, Judith Tinney and Caroline Bethune .4) Judith Tinney or Caroline Bethune and Bill Gribble sign the agreement .8) Gregor Hillman, Judith Tinney and Caroline Bethune sign the agreement, along with President of the Ballarat School of Mines, Bill Gribble. .10) Paul Donald with his L.F.J. Hillman Award, 1991 .11) Ballarat School of Mines Principal, Peter Shiells, speaks at the lectern watched on by members of the Hillman family.ballarat school of mines, hillman, lindsay hillman, medal, numismatics, electrical engineering, electronics, gregor hillman. judith tinney, caroline bethune, tinney, bethune, hovey, ferguson, mckenzie, white, paul donald, donald -
Flagstaff Hill Maritime Museum and Village
Instrument - Scale, Early 20th century
The basic balance scale has been around for thousands of years and its accuracy has improved dramatically over the last several centuries, the principle behind this tool remains unchanged. Its parts include a fulcrum, a beam that balances on it, a pan at the end of the beam to hold the materials to be weighed, and a flat platform at the other for the counter-balancing weights. Balance scales that require equal weights on each side of the fulcrum have been used by everyone from apothecaries and assayers to jewellers and postal workers. Known as an unequal arm balance scale, this variety builds the counterweight into the device. Counter scales used in dry-goods stores and domestic kitchens often featured Japanned or (blackened) cast iron with bronze trims. Made by companies such as Howe and Fairbanks, the footed tin pans of these scales were often oblong, some encircled at one end so bulk items could be easily poured into a bag. Seamless pans were typically stamped from brass and given style names like Snuff (the smallest) and Birmingham (the largest). Some counter scales were designed for measuring spices, others for weighing slices of cake. In the 18th century, spring scales began to appear and would use the resistance of spring to calculate weights, which are read automatically on the scale’s face. The ease of use of spring scales over balance scales. One of the most common types of spring scales was the kitchen scale also known as a family or dial scale. Designed for horizontal surfaces, these vintage kitchen scales used the weight of goods in a pan at the top of the scale to force the spring down rather than the balance system. Such scales were common in early 20th century households and were sold by many companies. Many had flat weighing surfaces but some were topped by shallow pans. Companies such as Salters, Chatillon, and Fairbanks were the most popular brands used. These scales are significant as they identify one of the basic preparation items for the weighing of foodstuff in the family kitchen to prepare everyday meals. This item is significant as it gives a snapshot into domestic life within the average home in Australia around the turn of the twentieth century and is, therefore, an item with social relevance. Black cast iron, medium weighing scales, with a fulcrum which the beam that balances on, there is as scoop at one end for the material to be weighted and a flat circular disc at the other end that holds the weights. Around the cast iron base is an embossed leaf pattern. All the weights have their weight embossed within the casting.There are 5 weights, marked 2 oz, 4 oz,8 oz,1 lb,2 lb, This scale does not have any visual markings on the arms to identify a maker or true balance. It is therefore assumed that these scales were made for domestic use only.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, spring scale, scale -
Glenelg Shire Council Cultural Collection
Painting, Robert Ulmann, Goat, c. 1974
Robert Ulmann was born in Zurich, Switzerland, where he studied sculpture and painting, exhibiting annually with the National Art Society of Switzerland and in Paris, Munich and Stockholm. He migrated to Canada in 1956 and became a Canadian citizen. After working on the restoration of sculpture on the west wing of the Parliament Buildings Ottawa, he took up a Government appointment as one of six artist advisers to the Eskimos, initiating handicraft and sculpture programs in isolated settlements across the Central Arctic. He arrived in Australia with his Australian wife, Helen, in 1969, after two adventurous years backpacking and sketching through the United States, Central and South America and the South Pacific. From 1970 to 1972 he was employed by the Northern Territory Administration as a manual arts instructor to the aboriginal people of Docker River, a remote settlement west of Ayers Rock. A series of drawings from this period was exhibited by the Department of the Interior in Canberra, Sydney and Adelaide. Robert Ulmann’s paintings and prints of wildlife from Australia and overseas fill a beautiful studio overlooking the famous Logans Beach whale nursery at Warrnambool in the Western District of Victoria. His previous studio and home, together with 13 years of field sketches and his best work collected together for two books were destroyed by the Ash Wednesday fires at Naringal in 1983. Rob exhibited in Sydney, Melbourne, Adelaide and Perth as well as in the Regional Galleries of Warrnambool, Ballarat, Portland and Horsham, and, among numerous prizes, he won the award for watercolour at six of the annual exhibitions of the Wildlife Art Society of Australasia, between 1978 and 1983. Although his principal interest was in drawing and painting, he retained a fascination with sculpture. His works range from two stone fountains with figures commissioned by the City of Zurich, while he was still a student, to a 4 ½ ton sculpture in bluestone commissioned in 1977 as a memorial to Sir Fletcher Jones., a five metre representation of whale tails in steel, and a life-size bronze of St. John of God commissioned for a private hospital.Image of a goat beginning to rise from a seated position, possible struggling out of mud. Painted in yellow and brown tones, with blue shadows. Earth colours form a rough ground area surrounding the goat. A brown wash provides a cursory background behind the goat's head. Dark cream matt surrounds image. Gold painted wooden frame, with glass.Front: Robert Ulmann (lower centre, paint) Back: (no inscriptions) -
Bendigo Military Museum
Photograph - PHOTOGRAPH, FRAMED, Vincent Kelly
IAN ALFRED (Joe) LYONS MBE Born 16.2.1915 in Bendigo enlisted in the RAAF aged 25 years on 27.5.1940, No 400095. Starting in the ranks as an LAC, he rose to Flt/Sgt pre-embarkation. He embarked for the Middle East on 2.11.1941before dis-embarking to serve with No 3 Sqd RAAF. During heavy action on 8.1.1942, his plane was forced down due to engine damage. It landed in an enemy minefield and when it came to a halt, its wheels were straddling a mine. After being rescued by a British officer, dozens of mines were located and dug up. On return, some 15 miles from base, the vehicle Lyons was travelling in hit a mine (on 9.1.1942), resulting in 5 KIA or WIA. Lyons spent 2 weeks in hospital with severe concussion and deafness. Lyons the embarked for Australia on 11.3.1942 before disembarking on 18.4.1942. He was posted to Townsville with 82nd Sqd on 27.6.1944. Subsequently he was posted to Noemfoor Island on 21.9.1944 as Operational with 82nd Sqd and promoted to Flt/Lt (Temp.) on 3.1.1945. On 6.1.1945 he was posted to 77Sqd as Operational on Morotai. This deployment ended on 9.7.1945. Records show that he flew 26 Strike/Attack missions and 13 others with both squadrons. Post WW2, Lyons remained with the RAAF with a new service number (033072). On 2.2.1948 he was posted to Japan before returning to Australia on 28.8.1948, apparently for medical reasons. He was appointed Flt/Lt on 23.9.1948 before returning to JApan and Korea on 22.8.1950. He was awarded an MBE as Operations Officer with 77Sqd for 'Outstanding enthusiasm and energy at 3 Korean bases'. A US Bronze Star was awarded to Lyons for 'Distinguished and meritorious service as Operations Officer in Korea during the period 14.10.1950 to 17.2.1951'. After Korea, Lyons received a number of posting from Victoria to Western Australia. He was awarded the Air Efficiency Medal in 1964. At his own request, Flt/Lt Ian Alfred 'Joe' Lyons MBE, retired from the RAAF HQ OP COM on 15.12.1967. The photograph is part of the Ian A. 'Joe' Lyons MBE Collection.Framed hand tinted colour head and shoulders photograph of a man in an RAAF uniform. The photograph is bordered with a light brown matt. THe wooden frome is painted white and gold. A white printed label bearing the name of the man is located below the photograph. Clear perspex covers the photograph. The photographer's name also appears below the photograph. The rear of the frame is covered in brown paper secured with masking tape. Two eyes and white cord are attached for hanging purposes.Handwritten in black below the photograph: 'VINCENT KELLY, Bendigo'.raaf uniform, photograph, flight lieutenant ian a. lyons -
Eltham District Historical Society Inc
Photograph, Fay Bridge, Clifton Pugh's Artists' Colony, Dunmoochin, Barreenong Road, Cottles Bridge, 14 May 2016
Following military service in the second world war, Clifton Pugh studied under artist Sir William Dargie at the National Gallery School in Melbourne as well as Justus Jorgensen, founder of Montsalvat. For a while he lived on the dole but also worked packing eggs for the Belot family saving sufficient to purchase six acres (2.4 ha) of land at Barreenong Road, Cottles Bridge. He accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in a property of approximately 200 acres, stablishing it as one of the first artistic communes in Australia alongside Montsalvat in Eltham. It was around 1951 that Pugh felt he had '"done moochin' around" and so the name of the property evolved. He bought timber from Alistair Knox to build his house on the crest of a hill. Inspired by local goldminer's huts, it was a one room wattle-and-daub structure with dirt floor. Over the years it expanded with thick adobe walls made from local clay, high ceilings and stone floors. All materials other than the local earth were sourced from second hand materials, most found at wreckers' yards. Artists from across the nation were drawn to Dunmoochin, with several setting up houses and shacks on the property, maintaining their independence but sharing their artistic zeal. Artists who worked or resided at Dunmoochin included Mirka Mora, John Perceval, Albert Tucker, Fred Williams, Charles Blackman, Arthur Boyd and John Olsen. In 2002, Pugh's house along with its treasure trove of art and a library of some 20,000 books was destroyed by fire. Traces of Pugh's home remain with the presence of the Victorian doorframe archway with leadlight of intricate design, procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. In place of Pugh's house rose two double-storey mud-brick artists' studios topped with corrugated iron rooves curved like the wings of a bird with accommodation for seven. The original studios, gallery and other buildings survived the fire.fay bridge collection, 2016-05-14, art gallery, barreenong road, clifton pugh, cottles bridge, dunmoochin, maurice hurry