Inge KING (26 November 1915 – 23 April 2016) Born Berlin, Germany Arrived Australia 1951 Inge King trained as a wood carver and studied at the Berlin Academy (1937-1939), Royal Academy London (1940), and the Glascow School of Art (1941-1843) . She moved to London in 1847 and began carving organic abstract forms in wood and stone. In 1949-50 she went on a study tour to the United States of America where she was inspired to work in metal . Inge King arrived in Australia in 1951 and she completed several large scale public works. Between 1861 and 1875 Inge King lectured at the Institute of Early Childhood Development, Kew. From 1976 to 1987 she lectured in Sculpture at Royal Melbourne Institute of Technology. She was a founding member of the Ceminal Centre Five group, and she actively lobbied architects, governments and State galleries to include modernist sculptures in their plans and displays. In 1991 Inge King joined the first National Trust of Australia (Victoria) Public Art Committee, advising on public art at risk and worthy of Trust classification. The Australian Women's Art Register describes Inge King as having been at the forefront of developing a non figurative vocabulary in Australian Sculpture. Welded bronzed steel sculpture painted black and red. This sculpture by Inge King was purchased in 1967 with funds raised by staff and students of Ballarat Teachers' College, a predecessor institution of Federation University Australia. During this era a collection was made which resulted in an annual purchase or commission of an artwork of note. The Federation University Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007. Signed 'I. King' on the lower steel plate. art, artwork, inge king, king, sculpture, ballarat teachers' college collection, welded metal, metal sculpture

These minutes contain information on attendees, meeting chairs, apologies, matters arising out of minutes, correspondence, subscriptions, donations and general business. Reports are also included from Reports for Honorary Treasurer, Chief Executive Officer (CEO), Council Committee, Information Services, Corporate Services, Accommodation Services, Rehabilitation, Marketing, Administration Support and Personnel. 25/8/1997 The President read a letter from the CEO, Mr. J. M. Isaacs formally advising of his resignation to take into effect from 31 December 1997. 24/11/1997 The President reported that Mr. John Landau was to be appointed to the position of CEO. 8/7/1997 The CEO advised the telephone based daily new service using interactive voice response technology developed by RBS was launched. 10/8/1997 it was reported the Queensland Talking Book Service (QTBS) was launched. 21/3/2000 The CEO reported that Ms. Jane Evans had been appointed as General Manager of the National Information Library Service (NILS). 18/4/2000 The CEO reported that one of the reasons for the creation of NILS was to combine the resources of RVIB and RBS to ensure an economical and smooth transition of both collections. 12/11/2001 The CEO reported that a meeting was held to discuss the merger of NILS and Vision Australia Foundation. 1 volume of sheets glued to pagesroyal blind society of nsw, national information library service

John NEELY (1953- ) Born Leavenworth, Kansas, USA John Neely is the Professor of Ceramics at Utah State University. John has studied Ceramics in Japan, and lectured and conducted in workshops, including at the Gippsland Centre for Art and Design. He is an expert in the technology of clay, glaze and kiln firing with a keen interest in pattern and texture. After completing a Bachelor of Fine Art at Alfred Univerity, New York in 1975, John Neely participated in a one year Foundation Fellowship at Tokyo, Japan. The following year he was the recipient of a Rockefeller Brothers Fund One Year Fellowship in Tokyo, Japan. Neely completed a Ministry of Education Two Year Postgraduate Research Fellowship at the Kyoto City College of Fine Arts, Kyoto, Japan and was awarded a Master of Fine Art at Ohio University, Athens, Ohio in 1982. This work is part of the Jan Feder Memorial Ceramics Collection which was amassed with funds raised by Jan Feder's student peers at the Gippsland Centre for Art and Design in the mid 1980s after Jan Feder passed away. Although many of the works are donated the intention of the collection was to purchase from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught at the Churchill Campus. Ceramic salt fired pot John Neely from Logan, Utah, USA, who was a guest lecturer at the Gippsland Centre of Art and Design (later Federation University Australia).ceramics, gippsland campus, jan feder memorial ceramics collection, john neely

These boots show an early design of ski boots. The design of boots, materials and closures have changed dramatically as technology has evolved. Early ski boots were little more than lace-up work boots. in 1928, the Swiss ski racer Guido Reuge invented a cable binding designed to hold the heel down for alpine skiing. He named the binding after the Kandahar series of alpine ski races. After World War II, custom bootmakers developed the double boot, with a soft and comfy lace-up inner boot protected and stiffened by a thick bull-hide outer casing laced with heavy-duty corset hooks. A solution towards making boots stiffer and more durable arrived in 1954, when Swiss bike racer and stunt pilot Hans Martin patented the ski boot buckle as shown on this pair of boots. The real revolution in boot design occurred in 1966, when the Canadian ski team were equipped with plastic boots for the Alpine World Championships. Since then manufacturers have competed to further refine designs to meet a range of needs from the weekend skier to elite athletes. These boots were donated by DIana and Neville Mashford who owned the Hub and Snowlands at Falls Creek.These boots are significant because they demonstrate a stage in the evolving technology of designs for the ski sport industry.Red leather ski boots with four metal buckles and black lining.SEROC Made in Franceski equipment, ski boot design, vintage ski boots

These boots show an early design of ski boots. The design of boots, materials and closures have changed dramatically as technology has evolved. Early ski boots were little more than lace-up work boots. in 1928, the Swiss ski racer Guido Reuge invented a cable binding designed to hold the heel down for alpine skiing. He named the binding after the Kandahar series of alpine ski races. After World War II, custom bootmakers developed the double boot, with a soft and comfy lace-up inner boot protected and stiffened by a thick bull-hide outer casing laced with heavy-duty corset hooks. A solution towards making boots stiffer and more durable arrived in 1954, when Swiss bike racer and stunt pilot Hans Martin patented the ski boot buckle as shown on this pair of boots. The real revolution in boot design occurred in 1966, when the Canadian ski team were equipped with plastic boots for the Alpine World Championships. Since then manufacturers have competed to further refine designs to meet a range of needs from the weekend skier to elite athletes. These boots were donated by Mt. Beauty Rotary Club President Bob Flower.These boots are significant because they demonstrate a stage in the evolving technology of designs for the ski sport industry.Black leather ski boots with five metal clips on each boot and black lining. A carry case is included. Tyrol is a family owned specialty outdoor store selling quality gear. It was started in 1965 by Jerry and Barb Schliep in Rochester, Minnesota, USA. In 2003 the store was purchased by their daughter and son-in-law, Kristin & Robb Welch.TYROL is imprinted on the carry case.ski equipment, ski boot design, vintage ski boots

An article from the Melbourne Legacy Bulletin on the death of Legatee Brian Armstrong, a long serving Legatee and past president (1937). He was one of the founding group of Legatees, being enrolled in 1924, and served for 54 years. The Bulletin often published articles on Legatees when they passed away. John Henry Brian Armstrong was born 23 June 1894 and completed a law degree at Melbourne University. He served with the militia when at University and tried to enlist in December 1915. He was accepted into the Army Medical Corps in April 1916. He served in France and Belgium as a Lieutenant with 22 Infantry Battalion and was wounded near Dernacourt on 24th April 1918. He was wounded again and taken prisoner at Herleville, France on 18 August 1918 when leading a night patrol in an action in which the majority of the party were killed. For a number of years Brian was a Trustee of the Frances Ormond Estate, which was the genesis of The Royal Melbourne Institute of Technology (RMIT). Along with Legatee Jim Gillespie (and Jim's grandfather) the trustees were identified with all the notable developments of RMIT. He remained a bachelor his whole life. He was one of the initial archivists of Melbourne Legacy. One of his speeches in 1961 gives an insight into why he became a Legatee. (see 02502)A record of the life and service of Legatee Brian Armstrong.Copy of 2 pages from the Legacy Bulletin on the death of Legatee Brian Armstrong in 1978.Bulletin No. VAW 2429. 19.9.1978. Pages 1 to 2.vale, past presidents, brian armstrong

Photos of Legatee Grat Grattan being presented with a 50 years of service certificate from President Chas Wilks in 1989. L/ Grattan was a long serving legatee, an article written when he turned 100 says that as a Legatee he was widely respected, he was 'something of a father figure - many of the girls were given away at their weddings by this kindly Legatee'. The article says Oriel John Grattan was born in WA and enlisted in the First AIF in 1916. He served in France and Belgium before he was wounded near Menin Gate. It continues with an interesting piece on the acquisition of Legacy house. It says: 'Perhaps his most lasting monument is Melbourne Legacy House. Through his friendship with one of the principals of the firm, Brown and Dureau, Legacy was given a donation of 30,000 pounds in 1944 (amount was 27,059 pounds according to Dureau Act).' A condition of the donation was that Legacy had only eight days in which to buy a building. A building in Swanston St was purchased for 18,000 pounds and the balance invested. But vacant possession was not possible and the building was sold in the early '50s and became part of the Royal Melbourne Institute of Technology. The proceeds plus the invested money enabled Legacy to buy its headquarters, Dureau House, in Swanston Street in 1955.A record of a Legatee Grattan's long service at Legacy being commemorated with a 50 years service certificate in 1989.Colour photo x 2 of Legatee Grat Grattan receiving a 50 year service certificate and a yellow paper label.legatee, recognition, grat grattan

A Legatee Grat Grattan with the President of the Melbourne Legacy Widows Club, Mrs Irene Noll, on the occasion of his 100th birthday celebrations at Legacy House. This photo was used in a newspaper article in 'Vetaffairs' October 1994. The article says Oriel John Grattan was born in WA and enlisted in the First AIF in 1916. He served in France and Belgium before he was wounded near Menin Gate. As a Legatee he was widely respected, he was 'something of a father figure - many of the girls were given away at their weddings by this kindly Legatee'. It continues with an interesting piece on the acquisition of Legacy house. It says: 'Perhaps his most lasting monument is Melbourne Legacy House. Through his friendship with one of the principals of the firm, Brown and Dureau, Legacy was given a donation of 30,000 pounds in 1944. A condition of the donation was that Legacy had only eight days in which to buy a building. A building across the road from the Royal Melbourne Institute of Technology was bought for 18,000 pounds and the balance invested. The building was sold in the early '50s and the proceeds plus the invested money enabled Legacy to buy its headquarters, Dureau House, in Swanston Street in 1955." Vetaffairs is a newspaper for the veteran community published monthly. The entire 8 page issue is kept but only the Grattan article has been scanned here.A record of a Legatee Grattans' achievements, both in the army and in later life and the impact he had on Legacy.Colour photo x 3 of Legatee Grat Grattan for his 100th birthday and article from Vetaffairs.Printed on the back "128 0133 N N N 2 2" on Kodak paper. legatee, birthday, grat grattan, dureau house

Robert JENYNS (1944 - 16/11/2015) Born Melbourne, Victoria Bob Jenyns' career spanned over four decades. Producing sculptures, prints, drawings, and paintings hee has participated in many of Australia's most significant art exhibitions including the first Biennale of Sydney (1973), the 1973, 1975 and 1978 Mildura Sculpture Triennials, the 1981 Australian Perspecta, the 2nd Australian Sculpture Biennale, and the 1990 Sculpture Triennial. Jenyns was a finalist in the 2006 Helen Lempriere National Sculpture Award, and in 2007 won the award with his work Pont de l'archeveche. At the age of 16 Jenyns studyied advertising art at the Caulfield Institute of Technology. He then studied fine art with artist/teachers including Ken Scarlett, Kenneth Jack and Fred Cress, and night life drawing classes at the National Gallery schools under John Brack. After graduating the 20 year old Jenyns taught sculpture and carving at Aspendale Technical School (Melbourne). Two years later he moved to Daylesford and where he taught art until 1978, having received teaching qualifications from Hawthorn Teachers College in 1972. From 1979 Jenyns was based in Tasmania, initially lecturing in sculpture at the Tasmanian School of Art and later serving as head of the sculpture department until 2005. Gift of the Jenyns family, 2021Painting of a red truck painted onto a stretched canvas.truck, bob jenyns, robert jenyns, transport, available

Celia Rosser (1930- ) Born Melbourne, Victoria Celia Elizabeth Rosser is a renowned Australian botanical artist, best known for having published The Banksias, a three-volume series of monographs containing watercolour paintings of every Banksia species. She trained in Art at the Melbourne Institute of Technology In 1970, Celia was appointed Science Faculty Artist at Monash University. Four years later she was appointed University Botanical Artist, and began the project of painting every Banksia species. The project took over 25 years to complete, and resulted in the publication of a three volume monograph entitled The Banksias, with accompanying text by Alex George. Publication of the final volume in 2000 represented the first time that such a large genus has been entirely painted. In 1977 Celia Rosser was awarded the Linnaean Society of London's Jill Smythies Award for botanical illustration, and in 1995 was awarded a Medal of the Order of Australia. Monash University awarded her an honorary Master of Science degree in 1981, and an honorary PhD in 1999. Banksia Rosserae is the last banksia species discovered and was named after the artist. Since 2002, the Friends of the Royal Botanic Gardens Melbourne have awarded the "Celia Rosser Medal for Botanical Art" to outstanding exhibitors at their "The Art of Botanical Illustration" exhibition.Un-numbered limited edition offset photolithograph of Banksia spinulosa.celia rosser, banksia, botanical, gippsland campus, flora, banksia spinulosa

Rochelle SUMMERFEILD Born Sydney, Australia This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Artists Statement: I am based in Northern NSW. My art practice is deeply influenced by my connections and experiences with the rivers and habitat where I live. Through drawing, paint, collage and digital media my work explores human relationships with riparian environments. Every day I see the undeniable beauty of our rivers as well as the ecological suffering of these riparian landscapes. Historical practices of land clearing, water politics and weed infestation put tremendous pressure on the Australian ecology. Disrupting traditional art forms, I combine them with new technologies to reveal some of the complexities behind human relationships with nature. With bold collagist experimentation, I combine numerous mediums to expose the small revelations between media. These juxtapositions open up the possibilities of reinventing different ways of being with the natural environment. Like the layers in my work, the issues surrounding our riverine environments are multifaceted and complex and begin with individual choices. I want to direct people’s attention to our rivers, to love, appreciate and reconnect with the natural environment. Human experience with nature is a fundamental part of our sense of self, health and well-being as well as community connection. (https://rochellesummerfield.com/about/, accessed 10 June 2020)art, artwork, rochell summerfield, printmaking, print council of australia

Series of newspaper clippings about travelling on Melbourne trams, people, conductors, and what can happen. .1 - Newspaper clipping titled "Swanston Express", from The Age 18/5/1985 by Alan Fitzgerald, about travelling on a tram and being on the wrong tram to an unusual destination and the things that can happen. Based around the story that a person was supposed to fly to Oakland USA but finished up in Auckland NZ. .2 - ditto titled "Its not easy losing green", from The Herald, 12/12/81 written by Lawrence Money about the loss of the green W's and their quirks - like sand on the floor, ticket butts, trap doors, peep holes, Melbourne habitats, compared to the orange trams. .3 - Letter to the Editor "Keep our trams and buses green", written by R Francis head of the graphic design, Swinburne Institute of Technology - regarding the colour of our vehicles, heritage and the craze of having orange colours - industrial design. Dated 8/5/1982. .4 - Editorial, 17/1/1995 - titled "Other peoples' trams" - The Age, about the reliance on Melbourne trams by its people, comparison with other large cities e.g. St Petersburg, cost of running it, finishes with the view that the system should be extended.trams, tramways, melbourne, behaviour, tramways, crews, tramcars, people and places, sanding equipment, compressors, livery, colour schemes

Book - spiral wire bound , clear plastic cover, green title sheet and card back, approx. 110 pages, black and white presentation giving examples of tram tickets along with notes on each system for Melbourne, Country Victoria, Queensland, South Australia, Western Australia, Tasmania, New Zealand (11 systems) and Tourist tramways. Has a table of contents, introduction, an overview of the operators, list of Urban Transport Milestones During the Tramway Era for NZ and a story "Mystery Solved by Tram Ticket by Robert Pine as told by Jack McLean about a murder in London that was solved by a tram ticket found in the person's clothes. Rear page has purchase details of the book and CD, along with a contact address in Sydney. See Reg Item 5579 for the CD. Bob Merchant of the Sydney Tramway Museum advised 4/3/2021 that: Richard Peck, as Curator of Philately, Printing and Postal Technology, was responsible for the Museum of Applied Arts and Sciences acquiring major artefacts from the NSW Government Printing Office when it was forcibly closed by the government in 1989. In retirement Richard has researched the history of private bus routes before 1932 and government bus routes 1932-2021. He maintains a large database of all types of NSW transport tickets.trams, tramways, tickets, reports, melbourne, mmtb, stories

This image shows a pathway in the gardens adjacent to Beechworth's Town Hall at the beginning of the Twentieth Century, around the time of Australia's Federation. The pathway leading to a circular rotunda or covered seating area with a steep conical roof is lined with shrubs set in grass verges that appear to be covered with snow. It is unknown whether the snowfall or a factor to do with the gardens occasioned the taking of the image, which at the time may have been an exotic practice. Climate records going back to 1908 indicate that snow in winter is not unusual due to Beechworth's elevation and orientation, and the Town Hall itself was built in 1859. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques. This glass slide is significant because it provides insight into Beechworth's social amenities and climate in the early Twentieth Century, around the time of Australia's Federation into one nation. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period. Thin translucent sheet of glass with a circular image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, town hall, town hall gardens, snow, rotunda, magic lantern, indigo shire, north-east victoria, nineteenth century, 1900s, twentieth century, emulsion slides

This image shows the gorge adjacent to Beechworth in approximately 1900. Although the exact location of the photograph is yet to be determined, the present-day Beechworth Gorge Walk includes views of the Cascades at the point at which Spring Creek flows into the valley on the level below. Gold-sluicing techniques in use in the town during periods of active gold extraction may have altered the landscape since the photograph was taken, however. In the 1850s a mill was built at the top of the Spring Creek falls by Russian-born Louis Chevalier, brother of artist Nicholas Chevalier. The mill supplied the town with lumber that supported the town's initial construction boom. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is significant because it provides insight into Beechworth's built environment and natural landscape in the early Twentieth Century, around the time of Australia's Federation. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a square image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, indigo shire, north-east victoria, spring creek falls, beechworth gorge, louis chevalier, nicholas chevalier, lumber industry, timber industry, 1850s, construction, building, mill, mills, waterfall

This image shows the gorge adjacent to Beechworth in approximately 1900. Although the exact location of the photograph is yet to be determined, the present-day Beechworth Gorge Walk includes views of the Cascades at the point at which Spring Creek flows into the valley on the level below. Gold-sluicing techniques in use in the town during periods of active gold extraction may have altered the landscape since the photograph was taken, however. In the 1850s a mill was built at the top of the Spring Creek falls by Russian-born Louis Chevalier, brother of artist Nicholas Chevalier. The mill supplied the town with lumber that supported the town's initial construction boom. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is significant because it provides insight into Beechworth's built environment and natural landscape in the early Twentieth Century, around the time of Australia's Federation. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a square image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, beechworth gorge, indigo shire, landscapes, mill, sluicing, gold mining, north-east victoria, spring creek, louis chevalier, cascades

Joseph Fowler (1888-1972), was born 28 February 1888 at Bagworth, Leicestershire, England, With his brother Sydney, in the early 1900s Joseph worked in a fruit-preserving business run by an uncle at Maidstone, Kent, and continued with the firm after 1908 when it was relocated at Reading. He married in 1910 and emigrated in 1913 settling at Camberwell, Melbourne.The jars were first manufactured in 1915 in Melbourne, for a fruit-bottling business started at the rear of his small house and the company of J. Fowler & Co. had begun producing home-bottling kits containing a sterilizer, bottles, lids, rings and a thermometer. Initially Fowler travelled the district, selling his kits door-to-door from the back of a cart. In 1920 he bought a shop in Hawthorn, and registered his business as a private company.During the Depression Fowlers Kits became a household name. In 1934 Fowlers Vacola Manufacturing Co. Ltd was registered as a public company. Fowler retired in 1961, but remained chairman of directors; his son Ronald succeeded him as managing director. Joseph died 1972 and when Ronald died in 1978, the company was bought out by the Sydney firm, Hooper Baillie Industries Ltd; it in turn sold to Sabco Ltd of South Australia; in 1994, when Sabco went into receivership, Australian Resource Recovery Technologies re-established Fowlers Vacola Australia Pty Ltd's headquarters in Melbourne.The early settlers of Moorabbin Shire had to be self sufficient and grew their own fruit and vegetables even if not market gardeners They preserved their produce for use all year.A 1 pint, clear, glass, narrow neck bottle with original 'Fowlers Vacola' stopper.Top FOWLERS VACOLA Shoulder of bottle FOWLERS VACOLA ONE PINT FRUIT JUICE BOTTLE Base F452 / M / R trade mark Amarket gardeners, early settlers, moorabbin, bentleigh, cheltenham, fowler james, fowler ronald, fowler's vacola, food preservation

Established in 1891 in Eindhoven, the Netherlands, Philips & Co. was founded to meet the growing demand for light bulbs following the commercialization of electricity. Science and technology underwent tremendous development in the 1940s and 1950s, with Philips Research inventing the rotary heads that led to the development of the Philishave electric shaver, and laying down the basis for later ground-breaking work in transistors and integrated circuits.Philishave was the brand name for the electric shavers manufactured by the Philips Domestic Appliances and Personal Care unit of Philips They used the Philishave brand name for their shavers from 1939 to 2006. The Philishave shaver was invented by Philips engineer Alexandre Horowitz, who used rotating cutters instead of the reciprocating cutters that had been used in previous electric shavers. The shaver was introduced in 1939, though initial production was limited due to the outbreak of World War II. A more ergonomic egg-shaped single-head model was introduced in 1948 and was designed by US industrial designer Raymond Loewy. Global sales increased markedly after a double-head model was introduced in 1951. As a spin off from the light bulb and research is the dynamo-powered bicycle lamp. Its rotating power system inspires the Philishave triple head electric razor. A triple-head model was test marketed in Australia and New Zealand in 1956, but would not be introduced globally until 1966. The brand name Philishave was phased out in 2006 so shavers now bear only the Philips name. Mr Alfred William ( Bill ) Roper, 1913 - 1996 grew up in Ripponlea, ( East St Kilda ) Victoria. As a child he went with his father Arthur Leopold Roper to purchase vegetables from the Moorabbin Chinese market gardeners at the Hotham St. / Nepean Highway corner. c1920 . Bill served in WW2 in New Guinea and post war was Army Auditor, Victoria Barracks, St Kilda Road Melbourne. His staff presented this 'Philishave upon his retirement and he used it until his death1996. He lived in Carlton, Belgrave, Ascot Vale, South Yarra, East St Kilda and moved to Bentleigh in 1987.A ‘Philishave’ triple head electric razor , with cord, head protector and cleaning brush in a hinged plastic case The case has compartments, for Razor and cord, that are lined with a mustard coloured, soft, synthetic material .Case top PHILIPS ; inside EXCLUSIVE PHILISHAVE Razor Handle front PHILIPS / PHILISHAVE; back Type HP 1121/ 110-130V/ 220-240 V / PHILIPS Shield / ? Shield / BS 3456 / V 75255 / MADE IN HOLLAND Nameplate Presented to / BILL ROPER / On the occasion of his retirement / BY THE STAFF OF / DEFENCE AUDIT BRANCH / May 1977 philishave, royal philips electric company, razors, electric razors, bentleigh, moorabbin, market gardeners, st kilda markets, world war 2 1939-1945, department of defence melbourne, melbourne, roper alfred william, roper arthur leopold, ripponlea, chinese market gardeners

The chimney extension on what was the former Carlton and United Breweries boiler house at Ballarat installed in 1972 and it is constructed of a special formulation of fibreglass reinforced plastics designed to operate at elevated temperature (ie boiler flue gas). It is thought to be one of 26 or 28 fibreglass boiler chimneys designed and installed in Victoria in the 1970s, and is thought to be one of the last to be removed. In its day the fibreglass chimney extension was at the cutting edge of fibreglass technology and is therefore well worth retaining. Removal of the chimney extension to the brick chimney outside the brewery building was deemed necessary to prolong the life of the chimney, and also because the fibreglass extension had reached end of life and posing a possible threat. According an Engineering assessment, fibreglass structures have a life expectancy of between 20 years (when fatigue loaded) and up to 100 years (static loaded). We don’t know when it was added to the chimney but believe it was most likely in the early 1970s. Given that it is subject to wind load and often observed to be moving in the wind it is likely that it will be at the end of its life. The chimney will be made good and we have the necessary planning approvals in place to undertake the works. The chimney extension was removed on 13 November 2015 in accordance with a planning permit obtained by the University. The extension is believed to have been added in the 1970s and was predominantly made from fibre glass. The structure was removed for safety reasons and to preserve the integrity of the historic brick chimney which supported it. Coloured digital photographs associated with the removal of a fibreglass extension to a chimney which was part of the Former Ballarat Brewery/Carlton and United Breweries complex. Images also include the last day the chimney was in situ.chimney, fibreglass, former ballarat brewery, former carlton and united breweries, ballarat school of mines, brewery complex

A hacksaw is a fine-toothed saw, originally and principally for cutting metal. They can also cut various other materials, such as plastic and wood; for example, plumbers and electricians often cut plastic pipe and plastic conduit with them. On hacksaws, as with most frame saws, the blade can be mounted with the teeth facing toward or away from the handle, resulting in cutting action on either the push or pull stroke. In normal use, cutting vertically downwards with work held in a bench vice, hacksaw blades should be set to be facing forwards. Joseph Marples & Son Pty Ltd Traditional Craftsmans Hand Tools made in Sheffield. The finest quality hand made tools, backed by over 170 years of manufacturing heritage. .In the 1840’s Joseph Marples was one of several ‘Marples’ (most of which were related) in Sheffield manufacturing joiners tools, such as brass inlaid rosewood & ebony braces, boxwood spokeshaves, beech planes, gauges and squares. The business has remained within the family to this date, and has been based in Sheffield since those early days. Although modern technology has been used in some instances, many of the traditions of manufacturing fine hand tools has remained the same using selected materials and hand finishing, indeed the same threads are used in the gauges as were used over 100 years ago. A steel hacksaw. 'Marples' with bladeMARPLEStools, woodwork, metalwork, carpentry, pioneers, market gardeners, early settlers, moorabbin, cheltenham, bentleigh, ormond, joseph marples & son pty ltd, sheffield , england,

Text panel produced by Elders to accompany display of coat. In 1928 Mr Mal Groves took over the Dutchman Station near Port Augusta in South Australia. Whilst out riding in some rough country he came across a sheep that had been left by the previous owner of the station. As he carried shears with him, he sheared the sheep and left the fleece rolled up and partially covered by rocks and wood, as he had no bag to carry it back with him. He intended to come back for the fleece, but forgot about it until he came across it some forty years later. It was still in good condition (despite having experienced extreme temperatures and rainfall whilst in the open), so he showed it to Elders who arranged to display it at agricultural shows in Adelaide, Melbourne and Geelong. The Gordon Institute of Technology, Geelong, offered to spin the fleece into a fabric and make a coat for Mrs Groves. The fabric was tailored into a coat by Lindsay and McKenzie of Geelong and presented to Mrs Groves in July 1968 by the SA manager of Elder Smith Goldsbrough Mort Ltd. It is not know how the coat came to Elders from the Groves family, but Elders displayed the coat under the heading "The Fleece That Would Not Die" before donating it to the National Wool Museum in 1997. A video giving the history of the coat as well as this text panel used by Elders were also donated at the same time.Text panel with black and red text on cream paper, framed in wooden frame and glass, with hanging wire.shearing, elders limited, groves, mr mal groves, dutchman station, south australia

Video recording, produced to accompany display of coat. In 1928 Mr Mal Groves took over the Dutchman Station near Port Augusta in South Australia. Whilst out riding in some rough country he came across a sheep that had been left by the previous owner of the station. As he carried shears with him, he sheared the sheep and left the fleece rolled up and partially covered by rocks and wood, as he had no bag to carry it back with him. He intended to come back for the fleece, but forgot about it until he came across it some forty years later. It was still in good condition (despite having experienced extreme temperatures and rainfall whilst in the open), so he showed it to Elders who arranged to display it at agricultural shows in Adelaide, Melbourne and Geelong. The Gordon Institute of Technology, Geelong, offered to spin the fleece into a fabric and make a coat for Mrs Groves. The fabric was tailored into a coat by Lindsay and McKenzie of Geelong and presented to Mrs Groves in July 1968 by the SA manager of Elder Smith Goldsbrough Mort Ltd. It is not know how the coat came to Elders from the Groves family, but Elders displayed the coat under the heading "The Fleece That Would Not Die" before donating it to the National Wool Museum in 1997. A text panel giving the history of the coat as well as this video was also donated at the same time.Video recording, in a white case with Tasmanian Trades and Labour Council with compliments slip printed on yellow paper inserted into back sleeve.shearing wool - history, elders limited, groves, mr mal groves, shearing, wool - history

This coat was produced from wool first shorn in c.1928. In 1928 Mr Mal Groves took over the Dutchman Station near Port Augusta in South Australia. Whilst out riding in some rough country he came across a sheep that had been left by the previous owner of the station. As he carried shears with him, he sheared the sheep and left the fleece rolled up and partially covered by rocks and wood, as he had no bag to carry it back with him. He intended to come back for the fleece, but forgot about it until he came across it some forty years later. It was still in good condition (despite having experienced extreme temperatures and rainfall whilst in the open), so he showed it to Elders who arranged to display it at agricultural shows in Adelaide, Melbourne and Geelong. The Gordon Institute of Technology, Geelong, offered to spin the fleece into a fabric and make a coat for Mrs Groves. The fabric was tailored into a coat by Lindsay and McKenzie of Geelong and presented to Mrs Groves in July 1968 by the South Australian manager of Elder Smith Goldsbrough Mort Ltd. It is not know how the coat came to Elders from the Groves family, but Elders displayed the coat under the heading "The Fleece That Would Not Die" before donating it to the National Wool Museum in 1997. A video giving the history of the coat and a text panel used by Elders were also donated at the same time.Coat, brown wool. Long sleeves, knee length with three circular brown buttons and two external pockets. Lined in brown satin, with a blue and red label at the base of the collar.Wording: Solo;Method: Embroidered;Location: Label at base of collar, inside coat Wording: PURE WOOL;Method: Printed;Location: Label on side seam, inside coatfashion wool - characteristics wool processing textile mills textile mills, lindsay and mckenzie elders limited gordon technical college, royal adelaide show - exhibition (31/08/2001 - 08/09/2001), groves, mr mal groves, mrs, dutchman station, south australia, fashion, wool - characteristics, wool processing, textile mills

“A silver-grey robe, denoting a powerful official. The Netleader, or Netmaster, as he is sometimes called is head of one of the many craft guilds on Nrat-Tuan. Fishers Guilds are not only vital economic groups for Nrat-Tuan, but also for the whole Imperium, since the water planet is the major source of foodstuffs for Irusaqu, who cannot produce enough crops on what Is a relatively barren, planet. The various fishing crafts are most responsible occupations, entailing great care for the environment and the food chains. Fishing is carried out by means of either mirrors or nets, both being about equally popular. Mirror-faceted fabrics have always been used by Nrati-Tuan fishermen to dazzle and bemuse the creatures they are trying to catch, (the mirror may also have some predictive power). Research indicates that this odd technique is surprisingly effective. And the harvests are unfailingly good. Contact with the humans of Irusag, when the Imperium was first founded, brought the technique of netting to Nrat-Tuan. The Netleader heads the Netter Guild, which does not limit itself to the merely traditional fishing net, but works with a complex and sophisticated membrane technology, which has, in recent years, revolutionised the whole netting industry. The Master controls the experimental membrane laboratories, which deal with the extraction of metals from sea water, as well as with tools for the fishing industry.” -Inga Hunter

This jacket and cap were designed by Rosalie 'Rosa' Kiessling about 1967. They formed part of the Fashion Group Inc's Walkabout Tour of the USA in 1967 which aimed to promote Australian fashion design in America. German by birth Rosalie, grew up skiing and ice skating, studied fashion design in Munich and worked designing women’s ski wear and lingerie before migrating to Australia via New Zealand in 1939 with her husband. As skiing increased in popularity following the end of WWII, Rosalie’s business grew reaching its peak during the 1960s. Though it was never large; at most she employed three staff. Her designs featured in the pages of Australian Vogue, Flair and the Women’s Weekly throughout the 1960s and received coverage from newspapers in Australia, New Zealand the United States. Rosalie was closely involved with the Swiss Club of Victoria, the Australian Wool Board and the Fur Traders Association, participating in numerous fashion shows and awards run by these groups. In the late 1960s she became involved with the Melbourne Branch of the Fashion Group Inc, a worldwide non-commercial association of women involved in the fashion industry. Rosalie continued to design and manufacture fashionable but functional ski wear until the late 1970s, although increasing imports from large overseas manufactures and constant new innovations in fabric technology made it difficult for her to compete in a relatively small industry. This ski jacket and cap illustrate Rosalie Kiessling's emphasis on practical glamour. She was the first Australian ski wear manufacturer to bring high fashion to ski wear design; which though common in the boutiques of St Mortiz, Chamonix and St Anton was new to Australia. The use of an Australian wildflower motif and of these pieces in the Fashion Group's Walkabout Tour also speak to her involvement in and promotion of the Australian fashion industry during the 1960s.Ski jacket and matching cap appliqued with Australian wildflowers.Noneskiing, ski clothing, fashion design, australian fashion, australian flora