Showing 1781 items
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Whitehorse Historical Society Inc.
Clothing - Negligee Set, 1948
Negligee set or Wedding trousseau for the marriage of Charlotte Edith (Tottie) Ryder (aunt of donor) to Alfred George Tooke (b 1898 England d 1998) held at Church of England, Thornbury on 13 March 19481948 negligee set comprises two pairs of knickers, camisole, bed jacket, petticoat, nightgown. All items are cream coloured satin with appliqued coffee coloured lace. One pair of knickers has appliqued coffee lace encircling each leg with a hand-worked buttonhole and is missing a button. Second pair of knickers has appliqued lace floral design on each leg with an elasticised waist band and a plain band on the legs. Camisole has coffee coloured lace along the top edge and rouleau style shoestring straps. Bedjacket is short with long sleeves and a front fastening with four self-covered buttons and rouleau fastenings. Coffee coloured hand appliqued lace is around the neck and along the bottom. The shoulders are padded. The petticoat has coffee coloured lace around the hem and yoke. It has rouleau style shoestring straps. The nightgown is long with a coffee coloured lace Vee front. Two satin ties attach to slightly gathered waist. See also Knickers NA4921, Wedding Dress NA4923, Horseshoes NA4924 and Wedding Veil NA4925trousseau, tooke, wyatt m, wedding -
Ballarat Tramway Museum
Ephemera - Ticket/s, State Electricity Commission of Victoria (SECV), Set of 11 mixed MMBtu, mid 1960's?
Set of 11mixed Melbourne and Metropolitan Tramways Board tickets donated to the Museum. Tickets have been used and have varying degrees of dirt. The image file (btm1771i1) shows the nature of the damage. Tickets have not been individually numbered with the Registration Number, but can be identified by their ticket number and denomination. All have a Stamina Self supporting trousers advertisement on rear, same style but with differing thought for the month - see image btm1771i2. All MMTB pre decimal tickets with all ticket number other outfit letter number in black ink. 4d - C Tg 039562 and 039563 black printing on buff paper. 6d - B Kb 283748 red printing on off white paper 7d - B O 709900 green printing on off white paper 7d - C H 023894 black printing on orange paper 8d - A G 317522, purple printing on off white paper, B J 552170 and A J 528021. 9d - B E 364846, black printing on white paper, D E 899478 and D E 863509. trams, tramways, tickets, used tickets, mmtb, melbourne -
Eltham District Historical Society Inc
Photograph, Peter Pidgeon, Official opening of the restored Eltham Courthouse, 730 Main Road, Eltham, 23 Mar 2022
Eltham Courthouse Officially Reopened (Jim Connor, EDHS Newsletter No. 263 April 2022) In the Conservation Management Plan prepared in 2006 for the Eltham Justice Precinct there is mention that more than 350 court houses have been built by the Public Works Department since 1856, when the Department was established. It also states Eltham was in an early group of 'Victorian Free Classical' structures, featuring a projecting entry porch and gabled roof. Characteristically, this group shares a simple, rectangular shape, central placement of the court room with smaller-scale offices set back at the sides or rear of the court room, arched openings, and decorative string courses. The Statement of Significance listed in the Victorian Heritage Register states: ‘The Eltham Court House dates from the time when the town was largely self-contained. It was initiated in response to itinerant gold prospectors who turned to crime when their quest was unsuccessful. This type of localised solution is characteristic of the self reliance preserved in Eltham today. The court house is an important symbol of the spirit which makes Eltham distinctive as a community.’ It also states: ‘The Eltham Court House, built in 1860, is one of only two intact examples in the state of this simple design with projecting entry.’ So with this background it is most appropriate this valued historic building has recently been the subject of a total restoration, as detailed in previous newsletters. This was a major project undertaken by Nillumbik Shire Council. At a small function in the Eltham Courthouse, on 23rd March 2022, Nillumbik Shire Council Mayor Fran Eyre declared the fully restored building officially reopened. In doing so the Mayor spoke about the earlier law and order function of the court and the importance of this building to the Eltham community. Wingrove Ward Councillor Geoff Paine then highlighted the importance of historical societies and groups within the shire and their valued activities in recording and preserving their local history. EDHS president Jim Connor thanked everyone involved with the project and provided an overview of the history of the courthouse. Michael Ioannides, Council’s project manager, spoke about how the restoration process proceeded and those involved in undertaking the works required. Cr. Natalie Duffy, various council officers, EDHS executive committee members, as well as representatives of the head contractor Ducon Building Services and the heritage advisors, RBA architects and Conservation Consultants, were also in attendance, as was a representative of Nillumbik U3A. After the formal part there was some light hearted interpretation of how past legal proceedings may, or may not have, occurred within this courthouse, before some refreshments were shared in the former second courthouse at the rear, which is now utilised by Nillumbik U3A. This was a successful celebration of a very worthwhile project.Born digital image (38)conservation consultants, cr. geoff paine, cr. natalie duffy, ducon building services, eltham courthouse, eltham district historical society, eltham justice precinct, jim connor, mayor cr. fran eyre, michael ioannides, nillumbik shire council, nillumbik u3a, opening ceremony, rba architects, restoration project -
Vision Australia
Administrative record - Image, Association for the Blind Philosophy (and) Objectives
This printed philosophy served to remind sighted people what the organisation was working towards and how it sought to achieve it.A3 printed page on cream coloured paper with black writing and black and blue logoThe Association for the Blind was founded in 1895 by 8 blind people of strong spirit as a self help group and in protest against discriminatory attitudes and practices of society at that time. This small group sought and obtained the assistance of sighted citizens. Together they achieved reforms which greatly enhanced the status and rights of blind people. Today, this tradition of self help and active involvement of both blind and sighted citizens continues, with an overriding concern for the welfare of the individual. Philosophy The work of the Association for the Blind is based on the philosophy that all people in our society should have equal opportunity, with the freedom to express themselves and participate in the community to the extent of their desire and interest. To achieve this the Association is a grouping of local community resources which have come together voluntarily to serve people who are blind or visually impaired, and in partnership with government ensure the necessary services are provided. The Association for the Blind functions as an extended family, with blind members, volunteers, contributors and staff working together with mutual respect towards common goals. Objectives These are - to promote the welfare of blind and visually impaired people; - to provide welfare, counselling, rehabilitation, accommodation, nursing care, recreation and other support services; - to minimise the harmful effects of blindness whether physical, psychological, social or economic; - to facilitate the prevention of blindness; - to utilise the experience and talent of blind people in the community in assessing needs, evaluating and improving the value of services to the blind. A wide range of services is necessary to achieve these objectives, the outcome of which is greater independence, security and opportunities for blind and visually impaired Victorians.association for the blind, corporation records -
Federation University Historical Collection
Equipment - Equipment - Safety Glasses, VIOSH: Polarised Safety Glasses by UVEX of Germany
Victorian Institute of Occupational Safety and Health (VIOSH) Australia is the Asia-Pacific centre for teaching and research in occupational health and safety (OHS) and is known as one of Australia's leaders on the field. VIOSH has a global reputation for its innovative approach within the field of OHS management. VIOSH had its first intake of students in 1979. At that time the Institution was known as the Ballarat College of Advanced Education. In 1990 it became known as Ballarat University College, then in 1994 as University of Ballarat. It was 2014 that it became Federation University. VIOSH Australia students are safety managers, senior advisors and experienced OHS professionals. They come from all over Australia and industry. Students are taught active research and enquiry; rather than textbook learning and a one-size fits all approach. VIOSH accepts people into the Graduate Diploma of Occupational Hazard Management who have no undergraduate degree - on the basis of extensive work experience and knowledge. UVEX is a German company with over 95 years experience. The produce safety equipment - polarised safety glasses. These have a combination of different coatings on the lens suitable for a wide range of workplaces. Also have self tinting coating that darkens when exposed to UV.Silver metal case. Interior has two removable trays, each divided into sections. Top tray has various lenses, bottom tray has various frames.viosh, victorian institute of occupational safety and health, uvex, germany, polarised safety glasses, coating on lens of glasses, self tinting -
Flagstaff Hill Maritime Museum and Village
Tool - Wrench, Late 19th Century
Johann Elias Bleckmann (1784-1856) founded a steel goods shop in Ronsdorf near Dusseldorf Germany. After completing a business education in his father's business, his son Johann Heinrich August Bleckmann (1826-1891) gained further experience through travel in North and South America. When his father died, he took over the steel goods store and moved it to Solingen. He bought a hammer mill in Mürzzuschlag Styria (Austria) in 1862 and converted it into a modern crucible casting steel smelter. His "Phoenix Steel", which he produced himself, achieved worldwide renown. He then went on to establish a file and tool factory and later founded a steel and plate rolling mill. Apart from cutlery blades, the company's self-produced steel was also processed into tools, scythes, rifle parts, etc. His sons Eugen and Walter continued after his death in 1891 at the Phoenix steelworks. However, by the end of the First World War, the two brothers fell into economic difficulties as a result of eliminating a large part of their foreign trade. In 1921, the company was converted into a public limited company and merged three years later with the company Schoeller & Stahlwerke. Made by Bleckmanns a significant Austrian manufacture of cutlery and tools in a recognized area of Germany famous for the production of steel items. The item is giving a snapshot of early colonial and European trades persons tools and gives an interesting insight into the development and progression of European tool and steel development and innervation prior to the First World War.Drop hand forged steel wrench with unusual locking mechanism to size jaw opening made by J E Bleckmann, Solingen Germany.Machine stamped on handle of wrench LOTUS L R GEBRAUCHS under has MUNSTER, J E BLECKMANN, SOLINGEN Germany. [ Translated: LR Gebrauchs= use,usage, or custom application] [Lotos] Translated: Lotus ie flower] [Solingen =town in Rhine valley]manufactures, tools, engineering, blacksmith, workshop tool, dropforged, handmade, wrench, adjustable wrench, phoenix steel, j e bleckmann, solingen, murzzuschlag, steel mill, cutlery, steel foundery -
Flagstaff Hill Maritime Museum and Village
Tool - Smoothing Plane, Johann Heinrich August Bleckmann, 1870 to 1920
Johann Elias Bleckmann (1784-1856) founded a steel goods shop in Ronsdorf near Düsseldorf Germany. After completing a business education in his father's business, his son Johann Heinrich August Bleckmann (1826-1891) gained further experience through travel in North and South America. When his father died, he took over the steel goods store and moved it to Solingen. He bought a hammer mill in Mürzzuschlag Styria (Austria) in 1862 and converted it into a modern crucible casting steel smelter. His "Phoenix Steel", which he produced himself, achieved worldwide renown. He then went on to establish a file and tool factory and later founded a steel and plate rolling mill. Apart from cutlery blades, the company's self-produced steel was also processed into tools, scythes, rifle parts, etc. His sons Eugen and Walter continued after his death in 1891 at the Phoenix steelworks. However, by the end of the First World War, the two brothers fell into economic difficulties as a result of eliminating a large part of their foreign trade. In 1921, the company was converted into a public limited company and merged three years later with the company Schoeller & Stahlwerke. Made by Johann Heinrich August Bleckmann a significant Austrian manufacture of cutlery and tools in a recognized area of Germany famous for the production of steel items. The item is giving a snapshot of early colonial and European trades persons tools and gives an interesting insight into the development and progression of European tool and steel development and innervation prior to and just after the First World War.Plane Smoothing type with flat base. Has wooden wedge and iron missing. Knob handle is set on top and at the front. Iron 1 3/5 inches wide. Marked "Bleckmann (symbol) Safingen" "GN".flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, plane -
Melbourne Legacy
Photograph, Intermediate Legacy Conference, Adelaide, Easter 1948, After Easter, 1948
Landscape photo with delegates, senior observers, and visitors gathered at the Intermediate Legacy Conference in Adelaide, held at Easter in 1948. Encased in a glass frame with wood (painted black) lining the edge. From TROVE: Chronicle (Adelaide, SA : 1895 - 1954), Thursday 1 April 1948, page 8 Legacy Conference In Adelaide Addressing delegates from all States at a convention of Intermediate Legacy Clubs last week, His Excellency the Governor (Sir Willoughby Norrie), who was accompanied by Lady Norrie, said that Adelaide regarded it as a privilege to be chosen as the venue of the first of what might become a series of annual conferences on the general policy of Intermediate Legacy of Australia. His Excellency stressed that the objects of Intermediate Legacy were to foster the spirit of comradeship, self-sacrifice and service, and to establish a high standard of citizenship and a spirit of responsibility in national development. 'Anything to do with Legacy has the strongest support of Lady Norrie and myself,' continued the Governor. 'Membership of Intermediate Legacy is open to the children of deceased servicemen who have passed the age of 16. There is no upper limit, although in 1945 a Senior Intermediate Club was formed in Adelaide for men returned from the services, or who, ineligible for service, had attained the age of 25. 'A record of an intermediate Legacy Conference in 1948. Junior Legatees who had achieved the age of 16 were forming intermediate clubs to further Legacy's work.Landscape photo with delegates, senior observers, and visitors gathered at the Intermediate Legacy Conference in Adelaide, held at Easter in 1948. Encased in a glass frame with wood (painted black) lining the edge. INTERMEDIATE LEGACY CONFERENCE ADELAIDE - EASTER, 1948 DELEGATES - SENIOR OBSERVERS - VISITORS List of names: Back Row: F. Holliday (Melbourne), R. Gammon (Geelong), M. Mead (Adelaide), S. Deverell (Adelaide), B. Rostron (Adelaide), G. Dodd (Sydney), A. Gale (Adelaide), C. J. Merefield (Brisbane), P. Phillips (Adelaide), V. Poulson (Brisbane), P. Lynch (Adelaide), D. Lapthorne (Adelaide). Second Row: R. Cumming (Melbourne), G. Bremmer (Adelaide), F. Bruce (Adelaide), M. Stevenson (Adelaide), R. A. Rowe (Hobart), H. H. Kirkwood (Adelaide), E. F. Marshall (Adelaide), E. B. Hill (Newcastle), K. Bremner (Adelaide), C. Lee (Perth), D. Lynch (Adelaide), K. Trevaskis (Geelong). Third Row: R. Wood (Adelaide), W. McDougall (Adelaide), H. B. Murn (Hobart), M. Thiselton (Adelaide), T. Rowatt (Brisbane), B. Fennel (Secretary, Adelaide), J. D. Harvey (Chairman, Adelaide), J. Murray (Sydney), V. Hawkesworth (Adelaide), L. Rolls (Melbourne), J. Yeates (Sydney), J. Byrne (Adelaide), J. Crouch (Brisbane). Front Row: G. Mead (Adelaide), R. White (Adelaide), E. Brown (Melbourne), A. Lawson (Melbourne), J. Raymond (Adelaide) Bottom of page: Frank Boase, Adelaide Back of Frame is as follows: CONROY MOFFAT PTY. LTD. PICTURE FRAMER 23 MCKILLOP STREET Tel. MU - MELBconference, ilc, delegates -
Vision Australia
Painting - Artwork, Portrait of David Robertson, 2002
Framed portrait of David Robertson who was the first President of the Association for the Advancement of the Blind, from 1895-1899. It is part of a series of paintings commissioned by the VAF Board to commemorate the work of past presidents of the organisation. Mr Robertson sits with his hands resting upon a wooden cane. He is wearing dark spectacles, a gray suit and waistcoat, white shirt with starched collar and pleated front, and a red and blue striped necktie. On his left lapel is a blue and red medal. David Robertson was educated at the Royal Victorian Institute for the Blind and was trained as a basket maker. He was one of eight foundation members of the Association for the Advancement of the Blind (now Vision Australia Foundation ) which was formed in 1895 in order to encourage blind people to manage their own affairs and build their self esteem. He was appointed the inaugural president and served as such from 1895 to 1899 and again in 1913 as well as acting as vice president from 1900 to 1902 and in 1911 and 1915. Known as a level headed and wise peacemaker he was elected chairman of the first interstate conference of blind people, which took place in Melbourne in 1913. From this evolved the Federal Council of Organizations of the Blind, which undertook to consider all matters affecting blind people. 1 art original in gold frameThe plaque at the base of the painting reads 'David Robertson / Inaugural President of / Association for Advancement of the Blind'.david robertson, association for the advancement of the blind -
Wodonga & District Historical Society Inc
Photograph - Sister Hughes' Private Hospital in Wodonga
Sister Hughes’ Private Hospital on the corner of High and Stanley Streets, Wodonga operated between 1922 and 1938. The building was constructed as a family home for Albert Schlink, a storekeeper in 1909. The building was first used as a private hospital in 1919 starting with Nurse Eliza Browne. It had six or seven rooms, one of which was an operating theatre. There was a walkway, then three bedrooms and a bathroom that belonged to the hospital all in the one area. A small building at the back served as a self-contained flat. Catherine Josephine Hughes' sister Mabel earlier married into the Schlink family and came from Bendigo to take over the Lease on the hospital in 1922. Apart from Sister Hughes, there were Nurses Poyntz and Costello. Three domestic staff were also employed – a cleaner Elsie Enever, the cook Mrs Baker and Mrs Kimball who did the laundry. Nurses Poyntz and Costello took charge of the hospital in 1938 and Catherine Hughes continued to be listed as a nurse on the electoral roll until 1954. In the early 1940s she conducted a business in the “lolly shop” in High Street, south of St Augustine’s Church. The Private Hospital in High Street possibly closed in 1954 with the opening of the Wodonga Hospital in Vermont Street. The images are significant because they represent a building and nurses who served an important role in the Wodonga community in the early 20th century.A set of black and white photos of Sister Hughes Hospital in Wodonga and some of the staff. The architect's plans of the original house, designed for Albert Schlink are included.sister hughes wodonga, hospitals wodonga -
Melbourne Legacy
Book - Scrapbook, Stanhope News
A book compiled about the Legacy children's residence called Stanhope. It includes photos of junior legatees and names and addresses used to contact past residents about the reunions held each year. Also newspaper clippings about significant events for the residents. Examples include when the junior legatees graduated from their courses, such as pharmacy or nursing. Also when girls had married and had children. Stanhope was supervised by Matron Dorothy (Dorrie) Vines from the time it opened in 1946 until she retired in December 1966. It is likely she compiled this notebook as she is referred to as 'self' in one photo.. Individual pages of photos or newspaper clippings have been added separately. Items 01817 to 01834. Stanhope was a residence run by Melbourne Legacy to take care of children whose fathers were deceased servicemen, and who may have been left orphans, or whose mother may have been unable to care for them herself, or they needed to stay in Melbourne for further education. It was at 1245 Burke Road Kew (corner of Cotham Rd). It was purchased by Red Cross in 1945 who refurbished it and leased it back to Legacy for as long as it was required as a residence for junior legatees. It was handed back to Red Cross in 1981.A record of life at Stanhope that was compiled during the years it was operating. A great example of the impact the residence and care had on the lives of the junior legatees.Notebook used to store photos, notes and newspaper clippings about Stanhope and the reunions held. Blue cover held on with red tape.residences, dorothy vines, stanhope -
Melbourne Legacy
Newspaper - Article, Ballet 'Snowman', 1959
A newspaper clipping from a book compiled about the Legacy children's residence called Stanhope. The newspaper clipping shows a photo of junior legatee girls in costumes with a snowman costume. Writing next to the clipping shows the name of one of the girls is Pauline Hodges and the date was the 1959 Demonstration. Stanhope was supervised by Matron Dorothy (Dorrie) Vines from the time it opened in 1946 until she retired in December 1966. It is likely she compiled this notebook as she is referred to as 'self' in one photo. Individual pages of photos or newspaper clippings have been added separately. Items 01817 to 01834. Blamey House (purchased 1947) , Stanhope (purchased 1945) and Harelands (purchased 1950) were residences run by Melbourne Legacy to take care of children whose fathers were servicemen, and who may have been left orphans, or whose mother may have been unable to care for them herself, or they needed to stay in Melbourne for further education. Harelands accomodated boys and girls under the age of 14, Blamey House looked after boys over 14, and Stanhope looked after girls over 14. The children were cared for until they were old enough to become independent. A record of a Stanhope girl performing at the annual demonstration and the matron keeping a clipping from the newspaper. It shows how important the girls' successes were for the staff at Stanhope.Newspaper clipping of a snowman costume from a demonstration in 1959.stanhope, annual demonstration, girls' classes, costume -
Melbourne Legacy
Newspaper - Article, The Sun News Pictorial, You can't learn grace by books, 1960
A newspaper article promoting the annual demonstration in The Sun on 7 September 1960. The article focusses on Miss Enez Domec Carre as it was her 25th Annual Demonstration. She was responsible for the whole demonstration, from choreography, designing costumes, and training the girls. She commented: 'Our big number this year is Toyland'. 'We do everything on a shoestring - costumes are remade and dyed from year to year, masks repainted. Wives of Legatees, senior girls and mothers all help to make the costumes and props.' 'Once the show starts I don't say a word. The girls find their own places on the floor and perform to the music. These children without fathers have to learn self-reliance and confidence, and this is a good start.' Throughout the year Melbourne Legacy provided classes for Junior Legatees such as dancing, gymnastics and eurythmics, the Demonstration was an annual event to showcase their skills. Melbourne Legacy conducted Annual Demonstrations / Parades from 1928 through to the 1980's, usually held at Melbourne Town Hall or Olympic Pool Stadium. The article was cut from the newspaper and pasted into a scrap book of press clippings. For many years Legacy kept scrap books of press clippings that related to their work and publicity.A record of photos and an article taken in 1960 for promoting Legacy's annual demonstration.Newspaper article about Miss Domec Carre preparing for the Annual Demonstration in 1960 pasted to brown page of a scrap book .annual demonstration, junior legatees, girls classes, enez domec carre -
Melbourne Legacy
Newspaper - Article, Wedding, 1959
A newspaper clipping from a book compiled about the Legacy children's residence called Stanhope. The newspaper clipping from 3 January 1964, shows a photo of the wedding of Jennifer Roberts and Ian Chapman. The article mentions they were married at Christ Church, South Yarra. Jennifer was a resident of Stanhope. Stanhope was supervised by Matron Dorothy (Dorrie) Vines from the time it opened in 1946 until she retired in December 1966. It is likely she compiled this notebook as she is referred to as 'self' in one photo. Individual pages of photos or newspaper clippings have been added separately. Items 01817 to 01836. Blamey House (purchased 1947) , Stanhope (purchased 1945) and Harelands (purchased 1950) were residences run by Melbourne Legacy to take care of children whose fathers were servicemen, and who may have been left orphans, or whose mother may have been unable to care for them herself, or they needed to stay in Melbourne for further education. Harelands accommodated boys and girls under the age of 14, Blamey House looked after boys over 14, and Stanhope looked after girls over 14. The children were cared for until they were old enough to become independent. A record of a Stanhope girl getting married and the matron keeping a clipping from the newspaper. It shows how important the girls' successes were for the staff at Stanhope.Newspaper clipping of a Stanhope junior legatee being married.stanhope, junior legatee -
National Wool Museum
Photograph - Product Photograph, Patent Automatic Feed Machine
These are sales photographs for William Tatham Ltd. of Rochdale. These photographs are taken in the fitting shop at William Tatham Ltd. where final assembly would have taken place. An Automatic Feeding Machine automatically and sequentially supplies uncarded wool to carding machines, The photographed machine was made by William Tatham Ltd, a textile engineering company based in Rochdale, UK. Established in 1866 Tatham developed innovative textile machinery and send their products to Australia and other countries around the world.A black and white photo of a Patent Automatic Feed Machine in a portrait format. Black wiritng on the rear, typed with a typewriter.Front - mid left corner - Wm. TATHAM Ltd. ROCHDALE. Machine Maker Front bottom right corner - 1129 Rear - Patent Automatic Feed with Extended Hopper fitted with balanced pressure plate which operates through Variable Speed Device to regulate speed of spiked lattice in accordance with material in Hopper. Electro-Magnetic Clutch Drive to spiked lattice controlled by Mercery Switch on scale arm. Diagonal Scale Pan with improved knife edge suspension. Dual Trap Doors over Pan actuated by Solenoid. Automatic device to slow spiked lattice just prior to weigh being obtained. Ball or roller bearings to main shaft, combs and other parts. Self-aligning bearing to timing shaft etc.textile machinery, tatham, wool manufacture, carding, automatic feeding machine, wool -
Woodend RSL
Service Dress Jacket
Associated with the service of Lieutenant H. Dixon, circa 1943. Worn by people who served on the Home Front in this Corps during the Second World War.This item is significant because Australian Army khaki woollen service dress jacket with red embroidered circular Unit Colour Patch on the top of each sleeves consistent with markings of Australia's home guard – the Volunteer Defence Corps (VDC). Four button down closure. The jacket is fully lined with a lightweight fabric, either natural or synthetic. A self fabric belt passes around the waist and fastens with a buckle at the front. Button down epaulettes with two pips denoting lieutenant ranking. 'Rising Sun' collar badges on each lapel. Pleated breast pockets with triple pointed flaps with exposed buttons. A pair of pockets over each hip with straight flaps each fastened with one visiable button. Pockets over hips have one Four front pockets are fastened with one visible buttton. These 8 buttons are domed metal showing a raised emblem of Australia surmounted by the King's Crown: also see Tudor Crown or Imperial Crown. The back of these buttons have a loop shank, secured with cotton. Surrounding is a stamp K. C. LUKE PTY LTD. MELB. There is a small pocket on the inside of the jacket corresponding to the right breast pocket.Small, white, rectangular manufactures tag stiched with khaki coloured cotton within the small pocket on the inside of the jacket corresponding to the right breast pocket. Approximately H 24mm x W 44m The MYER STORE for MEN MELBOURNE & ADELAIDE Typed in red ink on the bottom section of the manufacturers tag. Lt. H. Dixon W. 7290. 10/12/43.heraldry, uniform, volunteer defence corps -
The Beechworth Burke Museum
Audio - Oral History, Jennifer Williams, Mr Braz Borschman, 3-1-2000
Mr. Braz Borschman was born in Beechworth on the 1st of July 1914 at his parents home. He played for many years in the Towns volunteer Brass Band, a popular local band of about 30 members. Braz played the coronet and later the trombone. His first job was for the post office, but he spend most of his working life at the Beechworth Tannery. His interview contains lots of information about the tanning processes, including the story of 'Young Thomas', who lost his arm in a tannery accident. Braz recalls the open-air picture theatres of Beechworth, the many dances and balls, and distinct lack of cars. His testimony is rich with detail and filled with many other side-stories, including 'Blind Tommy', a self-sufficient, opium-smoking blind man of Chinese descent. This oral history recording was part of a project conducted by Jennifer Williams in the year 2000 to capture the everyday life and struggles in Beechworth during the twentieth century. This project involved recording seventy oral histories on cassette tapes of local Beechworth residents which were then published in a book titled: Listen to what they say: voices of twentieth century Beechworth. These cassette tapes were digitised in July 2021 with funds made available by the Friends of the Burke.Braz' interview is significant for the many historical details it provides about life, work, and leisure in Beechworth, particularly in relation to the period of the depression and after, which is the context which Braz' interview focuses on. His detail about the Beechworth tannery and the many open-air picture gardens is particularly rare and insightful to any social history of Beechworth. The oral history project more broadly is significant for its capture of the lives of ordinary Beechworth residents from incredibly divergent backgrounds, which has led to a rich, nuanced and diverse range of accounts of Beechworth.This is a digital copy of a recording that was originally captured on a cassette tape. The cassette tape is black with a horizontal white strip and is currently stored in a clear flat plastic rectangular container. It holds up 40 minutes of recordings on each side.listen to what they say, beechworth, oral history, braz borschman, brass band -
Emerald Museum & Nobelius Heritage Park
Relief prints, J. Carr et al, The Gwalior Plains, Circa 1840's
Original steel engraving by J.C Armytage after John SkinnerPROUT (1806 - 1876). Prout was born in Plymouth and was a member of the New Watercolour Society in London, he latter emigrated and lived for some time in Sydney and Hobart before returning to England. Published in "Australia... Illustrated with Drawings by Skinner Prout, N Chevalier, etc. by Edwin Carlton Booth F.R.C.I. (printed 1873-76) Virtue & Co., London, and as part work from about 1873. Steel Steel Engraved antique print some with marking to the margins. Image 12 x 18 cm. John Skinner Prout (1806 - 1876) was an architectural illustrator and painter. Born in Plymouth and nephew of Samuel Prout (Topographical illustrator, drawing master and colourist). John specialised in similar subjects to his uncle but was practically self-taught. He was elected a member of the New Watercolour Society on his return from Australia in 1849, where he visited Sydney and Hobart. He had already forfeited his membership of the NWS in 1838 by being overseas. John settled in Bristol after 1849 whewre he became a good friend of W.J. Muller (artist). He later moved to London where he died, at Camden Town on 29th August 1876Framed print of etching depicting four aboriginals one of which is climbing a treeprint, gwalior plains -
Ballarat Heritage Services
Drawing - Artwork - Painting, Portrait by Jean Appletom
Jean APPLETON (1911-2003) Jean Appleton was a painter and craftworker who studied at East Sydney Technical College and at the Westminster School, London. After seeing French sculptor Maillol's work 'The Cyclist' she was inspired to try sculpture and consequently studied under Eric Schilsky in London. With the outbreak of war she returned to Australia, thereafter teaching at high schools in the ACT and NSW and at the Julian Ashton and National Art Schools in Sydney. The first of her thirteen solo exhibitions was held at Sydney’s Macquarie Galleries in 1940. Resident in England from 1969 to 1981, she continued to teach intermittently into the late 1970s. After a difficult first marriage to artist Eric Wilson, who died, she married painter Tom Green and they settled in Moss Vale. Though her work is now represented in major state and regional collections, Appleton was like many women artists of her generation in that recognition of her work came late in life: she was in her eighties when a public gallery first presented a retrospective exhibition of her art. (https://www.portrait.gov.au/portraits/2013.92/self-portrait, accessed 15 September 2019) Jean Appleton won the inaugural Portia Geach Memorial Award in 1965 with this work. She dies in 2003.A sketched portrait of a man's head by Jean Apppleton. It may be Jean Appleton's first husband, Eric Wilson. drawing, portrait, jean appleton -
Ararat Gallery TAMA
Functional object, Shiro Uiro, c. 1900s
‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981Another Kyoto confection, a kind of sweetened rice paste, is simply but strikingly wrapped in a package marked with its name (uiro) in vigorously written characters. Simplicity could hardly be carried further, but, as seen in this ensemble of three separate packages, the effect is altogether engaging. - Professor Hideyuki Oka, curator.japanese art, japanese packaging, tsutsumi, gift giving -
Ararat Gallery TAMA
Functional object, Sekku no Iwaimono, c. 1900s
‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving -
Ararat Gallery TAMA
Functional object, Container for pastries, c. 1900s
‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving -
Ararat Gallery TAMA
Functional object, Gion Chigo Mochi, c. 1900s
‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979. Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981An elegant wooden box, fashioned in the style of boxes used for gifts to the emperor some eight or nine centuries ago, is filled with a Kyoto confection called Gion Chigo Mochi. The Gion is one of Kyoto's entertainment districts, chigo are children dressed in ceremonial Buddhist costume for one of the city's numerous festivals, and mochi are cakes of steamed and pounded rice. The name of the confection derives from the style of the bamboo-sheath wrapping, which suggests the figure of a chigo. - Professor Hideyuki Oka, curator.japanese art, japanese packaging, tsutsumi, gift giving -
Ararat Gallery TAMA
Functional object, Evening Moon confection, c. 1900s
‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving -
Ararat Gallery TAMA
Functional object, Evening Moon confection, c. 1900s
‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving -
Ararat Gallery TAMA
Functional object, Evening Moon confection, c. 1900s
‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving -
Ararat Gallery TAMA
Functional object, Evening Moon confection, c. 1900s
‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving -
Ararat Gallery TAMA
Functional object, Rice bag, c. 1900s
‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving -
Ararat Gallery TAMA
Functional object, Rice bag, c. 1900s
‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving -
Ararat Gallery TAMA
Functional object, Rice bag, c. 1900s
‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving