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Kew Historical Society Inc
Decorative object - 'Advance Australia' crocheted doily, 1890s
The Fashion, Textiles & Design Collection includes a number of examples of household or domestic textiles dating from the Nineteenth and Twentieth centuries. Some had a purely functional role while others were essentially decorative. These textiles were mass-produced or handmade, and sometimes including elements of both. Many were constructed of, or include elements of, lacework, tatting, embroidery or crochet. Donated throughout the Society’s history by members or residents of Kew, the provenance of many items is now unknown, however they remain in the Collection to illustrate the social history of the Australian home.White crocheted doily incorporating the motto of the Australian Natives Association and a pictorial representation of an emblem that would become the Commonwealth Coat of Arms.doilies - patriotic, doilies - symbolic, soft furnishings, australian natives association, advance australia -
Kew Historical Society Inc
Clothing - Cream Tussar Silk Wedding Dress, c.1912
The Fashion & Design collection of the Kew Historical Society includes examples of women’s, men’s, children’s and infants’ clothing from the 18th, 19th and 20th centuries. Items in the collection were largely produced for, or purchased by women in Melbourne, and includes examples of outerwear, protective wear, nightwear, underwear and costume accessories. This wedding dress was worn by the grandmother of Val Warren.Raw silk wedding dress. The full length dress has lace on the bodice and long sleeves. Other decorative elements include finely pleated silk panels on the bodice, an insert on the skirt and on the cuffs of the sleeves The dress features extensive use of both utilitarian and decorative buttons that are covered in the same silk fabric as the dress. The final photograph shows two early repairs to the dress. Lydia Edwards in 'How to Read A Dress (Bloomsbury Academic, 2017), when describing a 1912 dress in the McCord Museum notes that: 'In 1911-12 the use of buttons for both fastening and decoration was extremely popular, the American women's magazine The Delineator declaring at the end of 1911 that "one cannot use buttons to liberally in the present mode".' (p.132)costumes, wedding dresses, women's fashion - 1910s, fashion design, fashion -- 1910s -
Kew Historical Society Inc
Slide - Decorative Stucco: Kew Post Office, 1980
A civic campaign for new public offices developed in Kew in the 1880s. After much deliberation, the location chosen was the junction of Bulleen and Cotham Roads. The buildings were designed by George Watson and John Henry Harvey, architects within the Department of Public Works (Victoria). Building was commenced in 1887, and after one year, the buildings were opened. The Post Office was transferred to the new Commonwealth Government in 1901. The Police Station and Court House, sold by the Victorian Government to the City of Boroondara in 2007, are now a community cultural centre and performing arts venue.The buildings were listed on the Victorian Heritage Register Register (HO885) in 1991. They are historically and architecturally significant to the State of Victoria because Watson and Harvey's designs exhibit diversity in integrating civil offices, they accommodate the apex of road junctions, and they demonstrate a departure from the contemporaneously favoured High Victorian Classical to the Queen Anne style in the design of civic buildings. 35mm colour transparency of the decorative stucco treatment of architectural elements of the Kew Post Office on the corner of High Street and Cotham Road. The [former] post office is a significant example of the English Queen Anne Revival style. The photograph was taken as part of a series by Ralph Andrews (Department of Building, RMIT) in April 1980.kew post office, khs - slides, new public offices -- kew (vic.), architectural styles -- english queen anne revival -
Kew Historical Society Inc
Drawing - Property Illustration, Margaret Picken, 75 Walpole Street, Kew, 1990
After training as a Cartographic Draftsman within the mining industry, I worked as a property illustrator for real estate firms in the eastern suburbs of Melbourne for 22 years from 1983. I initially photographed houses with a Polaroid camera and made a 'thumbnail' sketch while there. The photos were used to scale off a sketch in pencil and then that sketch was overlaid with drafting film and the 'pen and ink' completed. The pens I used were the Rotring ‘Rapidigraph’ drafting pens. The ink was also made by Rotring (German).The film was ‘Rapidraw’, polyester drafting film, double matte. It takes a very fine line and doesn’t bleed. As well as house sketches, there were often floor plans and site plans ordered. Aerial sketches were ordered when the property needed an overall view. (Margaret Picken, 2020)The Ernest House (former) at 75 Walpole Street was designed by Harry Ernest in 1955/56. It is one of ten Victorian dwellings in Neil Clerehan’s important 1961 book Best Australian Houses, which illustrated cutting-edge residential design of the day. The house is also significant as Harry Ernest’s first residential commission, introducing elements that characterised his subsequent output.This drawing of the house is one of a series created by Margaret Picken for a number of real estate agents in Melbourne between 1983 and 2006. Each work is signed and dated by the artist.Gift of Margaret Picken, 2020Pen and ink architectural drawing on drafting film of 75 Walpole Street, Kew by Margaret Picken.75 WALPOLE ST., KEW / MARGARET PICKEN '90 / WOODARDS ~artist -- margaret picken 1950-, architectural drawings -- houses -- kew (vic.), 75 walpole street -- kew (vic.) -
Kew Historical Society Inc
Drawing - Property Illustration, Margaret Picken, 75 Walpole Street, Kew, 1990
After training as a Cartographic Draftsman within the mining industry, I worked as a property illustrator for real estate firms in the eastern suburbs of Melbourne for 22 years from 1983. I initially photographed houses with a Polaroid camera and made a 'thumbnail' sketch while there. The photos were used to scale off a sketch in pencil and then that sketch was overlaid with drafting film and the 'pen and ink' completed. The pens I used were the Rotring ‘Rapidigraph’ drafting pens. The ink was also made by Rotring (German).The film was ‘Rapidraw’, polyester drafting film, double matte. It takes a very fine line and doesn’t bleed. As well as house sketches, there were often floor plans and site plans ordered. Aerial sketches were ordered when the property needed an overall view. (Margaret Picken, 2020)The Ernest House (former) at 75 Walpole Street was designed by Harry Ernest in 1955/56. It is one of ten Victorian dwellings in Neil Clerehan’s important 1961 book Best Australian Houses, which illustrated cutting-edge residential design of the day. The house is also significant as Harry Ernest’s first residential commission, introducing elements that characterised his subsequent output.This drawing of the house is one of a series created by Margaret Picken for a number of real estate agents in Melbourne between 1983 and 2006. Each work is signed and dated by the artist.Gift of Margaret Picken, 2020Pen and ink architectural drawing on drafting film of 75 Walpole Street, Kew by Margaret Picken.75 WALPOLE ST., KEW / MARGARET PICKEN '90 / WOODARDS ~artist -- margaret picken 1950-, architectural drawings -- houses -- kew (vic.), 75 walpole street -- kew (vic.) -
Glen Eira City Council History and Heritage Collection
Letters Patent, Letters Patent for the Grant of Arms to the City of Caulfield presented on 1st May, 1977, 01/05/1977
Glen Eira has a long history of association with various heraldic forms. From its early years the municipality of Caulfield had used the armorial bearings of the Caulfield Family (the Charlemonts of Castle Caulfield) to represent the roads board and later the town and city. In 1969 Caulfield City Council began planning to apply for an official coat of arms for the City. In 1974 Horace Hall, a Balwyn North resident and member of the Heraldry Society in London advised Council that the current usage was illegal, and that the Houston family, current owners of the Caulfield Arms could take legal action against Council for 'usurping their arms'. Mr Hall was commissioned to develop new heraldry for the City, and in conjunction with J. P. Brooke Little at the College of Arms, London, he prepared an acceptable design for Caulfield's Coat of Arms. The Council paid an additional sum to have a standard painted on the Letters Patent and the municipality's new coat of arms was drawn up in June 1975. The Coat of Arms retains a number of heraldic elements from the original Caulfield family insignia, including the dragons, the colours and the elements of the shield. The newly registered coat of arms and Letters Patent document for the granting of arms was presented at a civic service to mark the granting of armorial ensigns and the city banner to the City of Caulfield on the 1st May 1977. Significant elements of the coat of arms granted by these Letters Patent are as follows: The motto 'Labore Vinces' translates to 'By our labours we will conquer'. The helmet represents the rank of the owner. Public authorities are granted an esquire's helmet. The brickwork on the crest is a recognised emblem of local government. The Letters Patent also display a banner and a badge, both official symbols of the City of Caulfield. The badge, which is displayed on the banner as well as on its own, features a bridled horse. This represents the importance of racing, the Caulfield racecourse and the Caulfield cup to the municipality. These letters patent officially proclaim the granting of the coat of arms to the City of Caulfield. They are highly significant to the City of Glen Eira as they are the primary document that signifies the official and ceremonial heraldic powers of the Coat of Arms of the City of Caulfield. Mounted Letters Patent illuminated document for the Grant of Arms to the City of Caulfield presented on 1st May, 1977. Hand written and hand painted on cream coloured parchment using different coloured inks, mainly black, blue, red and gouache and gold paint. The bottom edge is folded up over itself approx. 45mm revealing the flesh side of the parchment, which displays black ink signatures and three sets of two horizontal slits that hold three blue ribbon. The ribbons support three wax seals in round, gold coloured metal cases held by the wax through slots in the casing. Although covered by the cap top, each wax seal within displays a different flag emblem with a crown on top, surrounded by a ring of text (difficult to read), noted when the cases were opened during conservation treatment. See attached transcription.arms, symbol, heraldry, glen eira, council, caulfield -
Surrey Hills Historical Society Collection
Folder of information, Libby Cavenagh's 1990 building census of Wandsworth Road, Surrey Hills, 1990
Libby Cavenagh was Secretary of the Surrey Hills Historical Society. She completed this study as part of a Diploma of Local History she was undertaking at the University of New England. At the time she lived in Wandsworth Road.This is a unique analysis of the housing stock of a complete street at one point in time. Many of the houses have been altered since the study was completed and quite a number have been demolished.Blue folder of A4 size. This contains an analysis of each house in Wandsworth Road in 1990 with details regarding building style, approximate age, materials used, fence design, presence or absence of a garage or carport and some comment on the garden elements. For most entries there is a coloured photo taken from the street. For some there are photocopies of real estate advertisements. There are a number of appendices including s a map of the breakdown of styles and materials; date of construction and other information from the Camberwell Building registers 1890-1934; entries re owners from Sands & McDougall directories, 1897-1937; map from Land Titles Office showing sub-division information; land auction advertisements; information re W J Vine; list of builders; references.wandsworth road, libby cavenagh -
Surrey Hills Historical Society Collection
Photograph, City of Camberwell Council, Surrey Gardens, looking east from Union Road, 1933
The Honor Roll and Shrine in the Surrey Gardens were opened on Sunday 7 April 1918, prior to the cessation of fighting. Mrs Charles H D Steele (MS: Sarah Margaret Russell), president of the local Patriotic League, is credited with the idea of building The Shrine as a fitting memorial to the soldiers of the district. The Surrey Hills Progress Association coordinated raising funds from local residents. John Kendrick Blogg carved the beautiful honor roll in Indian teak and Australian white mahogany and the design of The Shrine was by architectural firm Gawler & Drummond. John Stevens Gawler was a partner in the firm, lived locally and also enlisted. Although he may have been overseas during some of the design process he is often credited with the design. Both men donated their services. The 2 cannons in the gardens were acquired by Mr Arthur Brookes in 1901 to commemorate the end of the Boer War. He was popularly known as 'Empire Brooks' and the cannons as 'Brooks' Babies'. They were originally placed in the grounds of the Guildford Road Recreation Oval. Arthur Brooks was an active community member and one of the founding members of the Surrey Hills Progress Association. Original photo was contained in a booklet printed by Camberwell Council in 1933.This is one of the earliest known photos of 3 elements important in designating the Surrey Gardens as one of the City of Boroondara's heritage gardens, now protected by a heritage overlay. The Shrine was one of the first WW1 memorials to be built in Australia and possibly the first in Victoria. It was unveiled prior to the end of hostilities and was built entirely through local community effort. The design of The Shrine, reflective of domestic architecture, is unusual. Its Honor Roll is also a noted example of sculptor John Kendrick Blogg's work and valued especially for its incorporation of Australian motifs, wattle blossom and gum leaves. The boomerang over the full width of the monument was said to be symbolic of both those who did and did not return. Black and white photo of part of the Surrey Gardens, located between Union Road and Norfolk Road, Surrey Hills. It shows The Shrine, the cannons installed to commemorate the end of the Boer War and the Memorial Cross. Taken from within the park looking east. surrey gardens, shrine of remembrance, monuments and memorials, boer war, mr john kendrick blogg, mr arthur brooks, mrs charles steele, mrs sarah steele, miss sarah margaret russell, cannons, mr john gawler -
Surrey Hills Historical Society Collection
Book, That's our house, A history of housing in Victoria, 1986
All houses were designed to provide protection from the elements and a home base for family activities - sleeping, eating, washing, recreation and earning a living. What changes is not the purpose, but the way this purpose is achieved. This book is about all these things. It is not just about architecture. Foreword by Hon Frank Wilkes, Minister for HousingAn 80 page soft-cover book with index and numerous photos and sketches.On the front cover in top RH corner and on foreword page in Jocelyn Hall's writing: "Surrey Hills Neighbourhood Centre"architectural styles, housing - victoria, ministry of housing, architecture - domestic - victoria, (mr) nicholas hudson, (mr) peter mcewan -
Albert Park-South Melbourne Rowing Club
Moore Sculling Machine
"Grace Blake’s conversations with older members of the Club have elicited the following information during July 2014: • Don Christie recalls the machine being acquired by (or donated to) SMRC in the 1960s. SMRC later donated it to APRC. • Bob Duncan remembers it being at APRC. • Max Shaw joined the club in 1946 but doesn’t recall it at all. • Peter Watson recalls collecting the rowing machine from the old APRC club house before its demolition (c. 1995). The AP-SMRC machine carries a ‘maker’s plate’ with the name Moore... Moore Crane and Engineering Company Pty Ltd was a subsidiary of Malcolm Moore Industries Ltd whose manufacturing engineering works were located on Williamstown Road, Port Melbourne from 1927. The founder established the main business in 1921 and retired in 1953.21 The business was delisted from the Australian Stock Exchange in 1976. Grace Blake advises that some of the earlier SMRC members were plumbers and therefore worked in trades connected with engineering. She reports that Peter Watson recalls some of his contemporaries completing their engineering apprenticeships at Malcolm Moore Industries Ltd in the 1970s. There are still many unanswered questions concerning the history and provenance of the rowing machine at the time of writing this report, but the connection with a local engineering works is certainly fascinating. Questions to explore in the future include: Did Moore manufacture the machine, or import it (and perhaps assemble it) under licence? Was this machine a ‘one-off’ or did Moore make / distribute others within Australia? When, why and how did SMRC acquire the machine? Why did SMRC decide not to retain it, but to pass it over to APRC? And how did APRC use it?" 2014 Significance Assessment, pp38-40. "The ‘Moore’ Rowing Machine at the Albert Park – South Melbourne Rowing Club (AP- SMRC) is a rare example in Australia of the Kerns patent design from 1900. This machine may not, however, be that old in construction or use. The AP-SMRC machine is almost intact, appearing to lack only the leather straps for fastening the rower’s feet to the foot-rests. Spalding manufactured the design in the USA in the early decades of the 20th century, but the metal elements in its models are traditionally black. The bright red paint on the AP-SMRC machine suggests something different. The AP-SMRC machine carries a maker’s plate that associates it directly with a local engineering business, Malcolm Moore Industries Ltd of Williamstown Road, Port Melbourne. Club members recall the machine being at the South Melbourne Rowing Club in the 1960s, and being transferred at a later date to the Albert Park Rowing Club. The machine has not been used since the founding of the amalgamated AP-SMRC and requires careful conservation. The ‘Moore’ rowing machine is of national research significance as a rare survivor, in Australia, of the well-regarded Kerns patent design that was popularised by Spalding in the northern hemisphere. The English River and Rowing Museum website quotes a testimonial from an AG Spalding & Bros’ Mail Order Catalogue: ‘This machine was described by ‘an experienced oarsman’ ... “to be the most perfect rowing machine ever produced”. A feature was the adjustment of the resistance so “the weaker sex can use the machine”’. Its historic significance lies in its rarity (and perhaps uniqueness) as an aid to the training of rowers at two successful clubs on Albert Park Lake. Additional historic significance lies in the connection that the rowing machine represents between local rowing clubs and a major local manufacturing engineer. The ‘Moore’ rowing machine bridges the realms of innovation and application, of industry and recreation, of land-based and aquatic sports, and of two neighbouring rowing clubs on the Albert Park Lake." 2014 Significance Assessment, p43"A rowing machine that appears to be built to the Kerns patent design from 1900 but may not be that old in construction or use. The machine is heavy and includes parts made from cast iron. The cast iron components are painted in a distinctive bright red. The wooden seat moves on timber slides. Resistance is created by spring mechanisms at the ends of two frame elements that connect with two wooden ‘oars’, and by the central chain-driven system that co-ordinates with the rower’s movements. The machine carries a maker’s plate with the single word ‘Moore’ in an oval design, using white letters against a navy background, fastened to the base board and close to the foot-rests." 2014 Significance Assessment, p38Moorerowing, apsm rowing club, significance assessment, malcolm moore industries ltd, kerns, 1900, sculling machine, albert park rowing club, south melbourne rowing club, albert park lake, rowing machine, ergo -
National Wool Museum
Machine - Knitting Machine, Coppo, 1960s
The knitting machine is a recently designed instrument, especially when it is compared with its ancient counterpart, the loom. It enables the creation of many metres of fabric very quickly. A knitting machine is composed of a series of needles which mimic the process of manual knitting. The mechanism engages numerous mechanical elements simultaneously and enables the creation of many metres of fabric very quickly. In addition, a knitting machine can be setup to produce unique bolts of fabric. The density of the fabric may be modified and a knitting machine can produce double-faced effects. A doubled-faced effect creates colour combinations through the introduction of an additional colour to the knitting pattern. This knitting machine is a Coppo brand. It contains over five hundred needles and was produced in the 1960s. It is a representation of the best available in the world at that time. Originating from Italy, it was designed for commercial use. Through both precision and capacity, Italian artisans were seen to be the best in the world of textiles and knitwear. Through emigration, globalisation and the regularly available quantities of wool, Australia came to compete on this stage. The owner of this particular machine migrated from Italy in 1959. When she did, she brought with her a Dubied knitting machine. She later replaced it with this Coppo. When in Australia the owner began work as a piece worker, knitting jumpers and worked for some of the iconic names in the Australian knitting trade including ES Poratt and Alpin Manufacturing. The owner’s role progressed from a piece worker to a wool garment designer and she won many Wool Industry Awards in the 1970s and 1980s. Her high quality of work using and her individual custom designs were spoken about by many of her customers and she had a very large private clientele. She designed and knitted fully fashioned tailored jumpers for people for around 30 years.Knitting table sits on a stand with wide metal legs. Legs contain lettering 'COPPO torino'. Legs are connected via three thin metal poles as well as a metal band and the bed of knitting table at top. The connecting metal band has the lettering 'SUPER - COPTAL' attached. The Knitting table itself contains two beds and a bench at the rear. Attached to the bench is a thin metal structure for the elevation of yarn. It has four crane esk structures above on this metal structure. The bench is covered in a pale grey laminate in the imitation of wood. Attached to the knitting bed is a sliding contraptions containing two handles at the front followed by a complex semi-circle sliding mechanism used to move the knitting mechanism front and back.Left Stand. Lettering: Coppo Torino Right Stand. Lettering: Coppo Torino Centre Stand. Lettering SUPER - COPTALcoppo, knitting machine, design, italy, wool, business, migrants -
Federation University Art Collection
Sculpture - Mace, 'University Mace' by Trefor Prest, 1995
The University's mace was carried in procession for the first time during the Graduation ceremonies in May 1996. The mace was presented to the University by former Chief Commissioner of the Ballarat City Council, Vern Robson, at a ceremony on 02 February, following a national competition for its design, sponsored by the Council. (The Flag, Issue 2, July 1996) Nineteen artists responded to the competition which called for a design that would embody a distinctive Australian image reflecting the heritage of the city and in relationship with gold, an Aboriginal element and the history of the University. The winning entry, dominated by a poppet head, was submitted by Central Victorian artist/sculptor Trefor Prest, a sessional lecturer in sculpture at the University.(The Flag, Issue 2, July 1996) The Herald Sun of 03 February 1996 reported 'the new mace shows importance elements of Ballarat's heritage as well as the university's focus on the future. The artist emphasises the egalitarian nature of Australia as embodied in Ballarat's famous slice of history - the Eureka uprising. ... The mace has a poppet head at the top of the shaft - an unusual element for a mace - but it represents Ballarat's mining history and the University's evolution from the Ballarat School of Mines. An opening egg at the top stands for the nurturing of development and learning. The mace's straight shaft is depicted as the tree of knowledge and, incorporating a bark canoe scar, Ballarat's Aboriginal heritage. At the end of the shaft is a surveying device, which represents precision and accuracy ads embodied in the university's academic pursuits.' Bob Morrell of the University organised the national competition to design the mace and said 'It is in keeping with the university's logo, 'proudly flying the flag', which incorporates the Southern Cross.' This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007. Trefor Prest lectured in Sculpture at the University of Ballarat from 1995-1996.The mace symbolises the office of the Chancellor. The design of the mace is the outcome of a national competition and represents the cultural diversity of Australia. The poppet head on the top of the mace refers to gold mining, which underpinned the development of Ballarat. The protruding spikes recall the Eureka Stockade. The 'egg' shape enfolds and nurtures the development of knowledge and learning. The shaft with the three 'branches' represents the Tree of Knowledge, and includes a bark canoe scar which recognises the integration of black and white Australian traditions. The lower part of the shaft culminates in a device suggestive of scientific or surveying and measuring technology. This represents precision and accuracy embodied in the academic pursuits of Federation University Australia.art, artwork, trefor prest, prest, mace, federation university, university, eureka stockade, aborigines, scarred tree, mining, university mace, ballarat -
Federation University Art Collection
artwork, Pwerle, Minnie, 'Untitled' by Minnie Pwerle
Minnie PWERLE (c1910-2006) Atnwengerrp/Utopia Minnie Pwerle's Dreamings consist of elements of 'Bush Melon' and 'Awelye'. Awelys-Atnwengerrp' is depicted by a series of lines painted in varying widths and colours. These patters represent the lines painted on the top had of women's bodies during ceremonies in Minnie's country of Atnwengerrp. 'Bush Melon' is depicted using linear design of curves and circles in different colours creating a very loose and bold design. This dreaming tells the story of this lovely sweet food that comes from a very small bush and is only found in Atnwengerrp. Once very abundant and fruiting in the summer season, the Bush Melon is now hard to find. Minnie and other women used to collect this fruit (that was green in colour and then ripened to a brown colour) and scrape out the small black seeds. They would then eat the fruit straight away or cut it in pieces and skewer them onto a piece of wood to dry then to be eaten in the coming months when bush tucker was scarce. These artistic symbols carry potent spiritual meanings.. The physical creation of these Dreamings in an important part of the continuation of an ancient and rich cultural heritage. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Awelye & Bush Melon Dreaming, 2004 Acrylic on canvas, over three panels art, artwork, minnie pwerle, aboriginal, anmatyerre language, atnwengerrp country -
Surrey Hills Historical Society Collection
Digital photo, George L Coop, 688 Whitehorse Road, Mont Albert c 1953, c1953
This was the home of 3 generations of the Coop family: 1. Josephine and George Frank Coop (noted in Box Hill Rate Books for 1947-1954). 2. George Burton Coop (1906-1960) and his family. He was Assistant Chief Architect of Victoria in the Public Works Department (P.W.D.) George Burton Coop was born in c1906 in Williamstown, the son of Josephine Vistarini and George Frank Coop. He married Winifred Alice Trewartha in 1936 and they are listed in the electoral rolls at 688 Whitehorse Road in 1937. George died 3/4/1960, aged 54 years at Mont Albert. 3. George Burton and Alice Coop had 2 children: George Lister Coop - born St Georges Hospital, 8/10/1937 Alison - born c1945. The donor George Lister Coop informed that he initially attended Chatham State School because his first home was the Spanish Mission style flats at 346 Whitehorse Road, opposite Brenbeal Street, Balwyn. When his grandparents died, the family moved to 688 Whitehorse Road and he then attended Mont Albert Central School. The California bungalow style of housing was the dominant style of housing built in the interwar period through the northern parts of Surrey Hills and Mont Albert as formerly semi-rural land was subdivided for new housing. It was relatively inexpensive and affordable. In Australia the Californian bungalow drew upon elements that were popular across the United States from around 1910 to 1939. In Australia the style became popular from 1913. In Melbourne both timber and red brick were used as the main building material. Typically they are one or one and a half story houses and feature sloping roofs and eaves with unenclosed rafters and often a feature a dormer window (or an attic vent designed to look like one) over the main portion of the house. Decorative elements include wood shingles, part stucco rendered exteriors, brick, stone, rendered or a combination of these treatments to exterior chimneys and front porches supported by heavy timber, brick or stucco columns.A black & white photo taken at an angle of a Californian bungalow.californian bungalow, whitehorse road, george frank coop, (miss) josephine vistarini, (mrs) josephine coop, george burton coop, (miss) winifred trewartha, (mrs) winifred coop, george lister coop, alison coop -
Surrey Hills Historical Society Collection
Digital photo, George L Coop, 688 Whitehorse Rd. Mont Albert c1950, c1950
This was the home of 3 generations of the Coop family: 1. Josephine and George Frank Coop (noted in Box Hill Rate Books for 1947-1954). 2. George Burton Coop (1906-1960) and his family. He was Assistant Chief Architect of Victoria in the Public Works Department (P.W.D.) George Burton Coop was born in c1906 in Williamstown, the son of Josephine Vistarini and George Frank Coop. He married Winifred Alice Trewartha in 1936 and they are listed in the electoral rolls at 688 Whitehorse Road in 1937. George died 3/4/1960, aged 54 years at Mont Albert. 3. George Burton and Alice Coop had 2 children: George Lister Coop - born St Georges Hospital, 8/10/1937 Alison - born c1945. The donor George Lister Coop informed that he initially attended Chatham State School because his first home was the Spanish Mission style flats at 346 Whitehorse Road, opposite Brenbeal Street, Balwyn. When his grandparents died, the family moved to 688 Whitehorse Road and he then attended Mont Albert Central School. The California bungalow style of housing was the dominant style of housing built in the interwar period through the northern parts of Surrey Hills and Mont Albert as formerly semi-rural land was subdivided for new housing. It was relatively inexpensive and affordable. In Australia the Californian bungalow drew upon elements that were popular across the United States from around 1910 to 1939. In Australia the style became popular from 1913. In Melbourne both timber and red brick were used as the main building material. Typically they are one or one and a half story houses and feature sloping roofs and eaves with unenclosed rafters and often a feature a dormer window (or an attic vent designed to look like one) over the main portion of the house. Decorative elements include wood shingles, part stucco rendered exteriors, brick, stone, rendered or a combination of these treatments to exterior chimneys and front porches supported by heavy timber, brick or stucco columns.A sepia photo taken at an angle from the street corner of the property. It is of a Californian bungalow with a driveway that extends through a carport, attached and roofed as part of the house, to the rear of the property. The veranda is accessed from under this covered area. The veranda and carport are supported by brick pillars and the veranda balustrades between are plain with an occasional wider feature panel. The front door is in shadow. There are rolled up striped canvas blinds on the veranda and at least 2 cane chairs. The main structure of the house is weatherboard with a terracotta tiled roof. There is a flower bed across the front of the house with an elevated brick flower box under the main window. There are no chimneys visible.californian bungalow, whitehorse road, george frank coop, (miss) josephine vistarini, (mrs) josephine coop, george burton coop, (miss) winifred trewartha, (mrs) winifred coop, george lister coop, alison coop -
City of Greater Bendigo - Civic Collection
Decorative object - Ceramic platter, Bendigo Pottery, Strathfieldsaye Shire 1866 - 1991, 1991
Graham Masters is a potter based at Sweenies Creek, just outside Bendigo, Victoria who specialises in a patented technique of low relief stoneware depicting Australian animals and landscapes. He obtained a Diploma of Art and Design in Ceramics from the Bendigo Institute of Technology in 1973, then operated a pottery for a year in Bendigo, before becoming an employee, then a partner at Maldon Pottery, Victoria with Neville Wilson and Thomas Metcalf. He left Maldon to set up his own pottery at Sweenies Creek in 1984. (1.) (Judith Pearce). Built in 1869, the (former) Strathfieldsaye Shire Hall is one of The City of Bendigo's earliest surviving public buildings. Designed by George Steane and built by George Pallett in 1869 the Strathfieldsaye Shire Hall has aesthetic significance as a purpose built Shire Hall designed in the Free Classical manner. It is also of importance as an early example of the novel system of cavity wall construction. The building is largely intact and unaltered. Other important elements include the arched portico of the main entrance with brick arched features on either side; the brick quoining and dressings to the round arch windows; the three gabled roof; and the matching chimneys that reinforce the symmetrical design. The Hall has social significance as a temporary schooling facility in the 1870s and as a flood refuge in 1889. The Strathfieldsaye Shire Hall is a brick building designed in the Free Classical manner. This style was favoured by the Public Works Department for a number of public buildings including Shire Halls and courthouses. The form includes a central taller volume flanked by matching smaller gables. In the case of the Shire Hall these would be occupied by the Shire Secretary and Shire Engineer whilst the larger volume was the council chamber. The portico at the front is designed with a flat arch in the centre and matching smaller arches each side. The face red brick is unadorned apart from a plain string course at the roof springing point, brick quoining and dressings to the round arch windows. There are matching chimneys that are located to reinforce the symmetrical design and the original roof is believed to have been slate but is now corrugated iron. Large wheel thrown ceramic platter with a shallow well, broad flaring ledge and raised on a high foot rim. Rim decorated with slab rolled gum trees protruding on centre left and right sides of plater. which reflect the low relief image of trees and the Strathfieldsaye Shire Hall on the surface of the plate. Glazed with golden brown and cream. Front centre top; 'Shire of Strathfieldsaye'. Front lower centre '1866 - 1991 - 125 Years'. Signed 'G Master / 1991' on rim centre right. Reverse; signed 'G Master' / 1991. Bendigo Pottery stamp.shire of strathfieldsaye, bendigo pottery -
Diamond Valley Vietnam Veterans Sub-Branch
Memorabilia - Medallions, 18/8/2016
The presentation case was produced as a Welfare Fundraising item and could be displayed on shelf or the like; the medallions are a simple but meaningful depiction of the Australian Armed Services engaged in the Vietnam war. A simple but meaningful presentation of six elements of Australian Armed Forces during the Vietnam War.Set of six medallions with a picture of each of six elements of Australian Armed Forces in Vietnam and commemorating 50 years since the Vietnam War: Navy, Air Force, Armour, Artillery, Infantry, Signals. Medallions are in a presentation case with inside cover a depiction of various Australian Services. A Certificate of Authenticity is inside the presentation box and is described thus: a 'shield' with motto Courage.Service.Mateship with a "50 Vietnam" over a similarity of the the Rising Sun design and wing date ribbons of 1962 and 2012; included is a Limited Edition Number: 00139 of 1000. Below all of that are the Vietnam Service Colours. Limited Edition Number: 000139 of 1000. vietnam, vietnam war, diamond valley vietnam veterans sub branch -
Diamond Valley Vietnam Veterans Sub-Branch
Weapon - M16 Rifle, c2010
A faithful depiction of an M16 automatic rifle that gradually partnered the SLR rifle as the typical weapon for riflemen and other soldiers.The model represents the M16 automatic rifle that, with the SLR rifle, became the 'best friend' to many infantry soldiers and other elements of Australian Armed Forces in Vietnam.The M16 rifle is a family of military rifles adapted from the ArmaLite AR-15 rifle for the United States military. The original M16 rifle was a 5.56×45mm automatic rifle with a 20-round magazine. Wikipedia Length: 38.81 in (986 mm) (M16A1); 39.63 in (1,007 mm) (M16A2); 39.37 in (1,000 mm) (M16A4) Caliber: 5.56 mm (.223 in) Designed: 1959 In service: 1964–present Muzzle velocity: 3,150 ft/s (960 m/s) (M855A1 round) Produced: : 1963–present; Sights: Iron sights: Rear: aperture; L-type flip; Front: wing-protected post; Various aiming opticsM16 automatic rifle; made of metal, plastic.vietnam, vietnam war, diamond valley vietnam veterans sub branch -
Diamond Valley Vietnam Veterans Sub-Branch
Weapon - L1A1 SLR Rifle, c2010
The L1A1 SLR rifle was the first 'best friend' for infantry and other elements of the Australian Armed Forces; the rifle was the closest focus for troops during training and drill.The L1A1 SLR rifle was often the survival factor for troops in a combat situation hence it was treated reverently by the soldier and kept in best working order even in extreme circumstances.LiA1 SLR Rifle. Known as the L1A1 SLR (Self Loading Rifle) and is known for is straightforward fieldstripping and robust nature. The L1A1 is the British version of the Belgian FN FAL rifle. The L1A1 is a reliable, hard-hitting, gas-operated, magazine-fed semi-automatic rifle. The weapon was extensively used by the Australian Infantryman. The L1A1 SLR rifle was the initial general issue to infantrymen and other elements of the Armed Forces. L1A1 SLR (Self Loading Rifle) Type: Battle rifle Wars: Cold War, Vietnam War, Falklands War Designed: 1951 Manufacturer: Fabrique Nationale (FN) Number built: Over 1 million Weight: 4.0–4.96 kg (8.8–10.2 lb) Length: 1,090 mm (43 in) Barrel length: 533 mm (21 in) Cartridge: 7.62 mm NATO Rimless Calibre: 7.62 mm (.308 in) Action: Gas and return spring operated, tilting block Rate of fire: 20 rounds/min semi auto Muzzle velocity: 823 m/s (2,700 ft/s) Effective range: 600 m (656 yd) Feed system: 20-round detachable box magazine Sights: Aperture rear sight, hooded post front sight Accesaries bayonet, sling, grenade launcher, telescopic sights Serial No. AD8100176vietnam, vietnam war, diamond valley vietnam veterans sub branch -
Canterbury History Group
Book, Helen Doyle et al, Publishing history : a guide for historical societies, 2006
Written for historical society members who lack confidence in their ability to produce a work that is acceptable to publishers and to their potential readership. Provides advice and information on all aspects of printed and electronic publication embracing such topics as planning and financing a project, self-publishing, the structure and elements of a history book, use of illustrations, editing and design, identification and access requirements and selling the finished product. There is also a section for those societies that can afford to pay for the services of a historian to write a local history.v, 75. : ill. ; Includes further reading non-fictionWritten for historical society members who lack confidence in their ability to produce a work that is acceptable to publishers and to their potential readership. Provides advice and information on all aspects of printed and electronic publication embracing such topics as planning and financing a project, self-publishing, the structure and elements of a history book, use of illustrations, editing and design, identification and access requirements and selling the finished product. There is also a section for those societies that can afford to pay for the services of a historian to write a local history. publishing, local history, history publishing -
Melbourne Legacy
Document - Press Release 1975, Melbourne Legacy, Finding some one who's better off . . . who had a better run, 1975
A press release from Melbourne Legacy in 1975 which relates a story of how Legacy works. The information was intended to be used by press and magazines etc. The title 'Finding some one who's better off . . . who had a better run' and discusses mateship being important to Australians. It starts with a quote from Sir Robert Menzies, former prime minister of Australia. 'Legacy is not an organisation designed to organise people into a body to pursue their rights or into a body to defend their mutual interests. If anybody were to trace out what's been done by Legacy since Stan Savige first had this great idea he would find himself going into most of the nooks and crannies of Australian life and finding somebody who is better off, who had a better run, who had done something because of the individual responsibility accepted by members of Legacy. They have contributed to the best elements in our national life and they have done it because it's all been based on active personal responsibility'. The article goes on to describe the origins of Legacy and the work done. "Each member of Legacy is responsible for helping about five families. He gives of his time unstintingly; his only reward is to see these families secure, receiving all the advantages to which they are entitled. He sees, with pride, the family grow and for the widow there are social activities organised so that she, too, feels herself to be a useful member of the community. As she grows older, her care is assured as Legacy maintains gradually increasing hostel and/or Nursing Home type accomodation for frail, aged widows in its care.'A record of how Legacy promoted their work in the 1970s.Blue foolscap page x 3 with black type of a press release in 1975.Title 'Finding some one who's better off . . . who had a better run'press release, promotion, robert menzies -
Federation University Bookplate Collection
Work on paper - Bookplate, 4 Elements
... of the bookplate through establishment of the Australian Bookplate Design ...After a quiet period, interest in bookplates in Australia began to increase in the early 1970s, Entrepreneurial art and book collectors such as Edwin Jewell and others commissioned multiple Bookplate designs from a range of well known fine artists. At a 1997 meeting in Melbourne of the Ephemera Society of Australia Edwin Jewell and others announced the formation of the Australian Bookplate Society. The society was instrumental in promoting the art of the bookplate through establishment of the Australian Bookplate Design competition. The competition includes a design award for international entrants.