Blue and white hexagonal shaped china jar with lid, various castles depicted around sides and on lid. Made by Maling Ware for Ringtons Tea Offices & warehouse Newcastle Upon Tyne illustrated on base. Inside lid North East Coast Industries Exhibition Newcastle On Tyne 1929 Reg No's 745884 745865 plus coat of arms.Maling Ware England reg No's 745864-5domestic equipment, food storage & preservation, tea caddy, dr 334.2

Melbourne : Australian Academy of Technological Sciences and Engineering, c1988 xxix, 1017 p. : ill., maps, ports., plans, facsims. ; 26 cm. non-fictionThis book provides a history of technology in Australia from 1788 to 1988. There are twelve chapters by different authors. These chapters are: Innovation, science and the farmer (D.E. Tribe and L.J. Peel) Food technology (K.T.H. Farrer) Water and irrigation (K.D. Green) Forestry and forest products (W.H. Algar) Australian innovation in textile technology (D.S. Taylor) Engineering construction and building (J. Holland) Transport (B. Inglis) Communications and computers (J.H. Curtis and T. Pearcey) The chemical industry and Australian contributions to chemical technology (J.E. Kolm) The mineral industries (G.B. O'Malley) Energy (R.N. Morse) Manufacturing industry (P.N. Richards) Defence science and technology (J.L. Farrands and J.C. Wisdom) Index, photographs.technology -- australia -- history., technological innovations -- australia -- history.

Honey tins were made to industry standards, and beekeepers bought tins from manufacturers. One of the largest manufacturers was Pender Bros, based in Maitland NSW. When a customer had emptied a tin, they returned it to the beekeeper when they went to buy more honey.Metal honey tin with metal handle and lid. Front label; "Finest Honey for your daily Diet" "NET WEIGHT 3Kg" Two notices on label, first notice; "Honey is an ideal breakfast food" second notice is a general statement on use of honey.old, honey, tin, honey tin, beechworth honey

Honey tins were made to industry standards, and beekeepers bought tins from manufacturers. One of the largest manufacturers was Pender Bros, based in Maitland NSW. When a customer had emptied a tin, they returned it to the beekeeper when they went to buy more honey.Metal honey tin with metal handle and lid. Front label; "Finest Honey for your daily Diet" "NET WEIGHT 3Kg" Two notices on label, first notice; "Honey is an ideal breakfast food" second notice is a general statement on use of honey.old, honey, tin, honey tin, beechworth honey

Honey tins were made to industry standards, and beekeepers bought tins from manufacturers. One of the largest manufacturers was Pender Bros, based in Maitland NSW. When a customer had emptied a tin, they returned it to the beekeeper when they went to buy more honey.Metal honey tin with lid. Front label; "Finest Honey for your daily Diet" "NET WEIGHT 1.5Kg" Two notices on label, first notice; "Honey is an ideal breakfast food" second notice is a general statement on use of honey. Is in good condition; little to no rust.old, honey, tin, honey tin, beechworth honey

62 pages, illustrated.

70 pages, illustrated.

Part of a collection of books, manuals, photographs, letters and clothing relating to the working life of Stuart Ascough. Stuart's career in the wool industry spanned over 43 years from 1960 to 2003 in various roles including Topmaking Plant Manager at Courtaulds Ltd. in Spennymore, U.K., Operations Manager at Port Phillip Mills in Williamstown Victoria, Marketing Executive, Early Stage Wool Processing at the International Wool Secretariat Melbourne, Australia and General Manager of Victoria Wool Processors Pty. Ltd. in Laverton North, Victoria. Throughout his career Stuart travelled extensively, and in the 1990s worked at many topmaking mills in China on quality improvement projects. He also provided technical advice and training at mills in India, Ukraine, Lithuania, Kyrgyzstan, Russia, Latvia, Byelorussia and other parts of Europe and Asia.Folded world map showing statistics, images and graphics relating to wool in the 1990's.front: World Wool Map / Rabobank / International / Rabobank International / Food & Agricultural Research / Croeselaan 18 / 3521 CB Utrecht / The Netherlands / Telephone +31 (0) 30 2161178 / Fax +31 (0) 30 2161920 / E-mail: [email protected] / Web-site:www.rabobank.com/far / Map produced by G-O graphics / Wijk bij Duurstede, The Netherlands / www.g-o-graphics.nlstuart ascough, international wool secretariat, victoria wool processors, port phillip mills pty ltd, topmaking, career, wool industry, training, technical advice, mills, map

Schuss was advertised as Victoria’s Official Ski Journal It was issued monthly from 1935 to 1961 except during the war when summer issues covered two months. This continued after the war, but it averaged 10 issues annually over its 25 year life. Schuss was published by the Ski Club of Victoria which had a membership of 38 Ski Clubs and demanded to be recognised as the prime authority on skiing in the state. The other 30 ski clubs with 85% of the members disagreed and the politics of skiing became heated. These clubs formed the Federation of Victorian Ski Clubs with their own journal, Ski Horizon. With the establishment of the Victorian Ski Association, Ski-Horizon published its last issue in Nov - Dec. 1955 and the role of the official journal was fully taken over by “Schuss”. This item is significant because it contains stories, images and information documenting the development of the ski industry in Victoria.The journal features stories and events chronicling developments in Victoria and internationally. Items related to the Falls Creek Area in this issue include:- Page 153 - an advertisement for ski lessons, tours and accommodation for skiers with Bob Hymans. A second advertisement for Pearce Bros., General Merchants at Tawonga stated they could arrange for food supplies for clubs or ski parties to be delivered into lodges at city prices. Page 168 feature a photo by H. Gibbs - On the road to Falls Creek, beyond Howman's Gap, showing slopes of of Spion Kopje in the background. Page 177 - The Galleon Ski Club had opened its books to a limited number of Associate Members and offered its Members use of the "GALLEON" Lodge. Associate Membership fee was set at £1/1/- per annum. Lodge fees were 12/6 per day per member. Page 182 announced ALBURY Ski Club's Annual Ball will be held this year on November 28th. The event promised to live up to the reputation of the previous year's very happy "do" at Toonallook Woolshed, and it should be worth going a long way to be in it, even to devoting the whole weekend to a visit. Note the date now.schuss journal, bob hymans, h. gibbs photos, galleon ski club, albury ski club

Pale green glass bottle with white, metal, screw-on lid. It has a beige-coloured label with red and blue writing, and a picture of an orange and a lemon, green leaves and one white flower.On the label: "Kia-ora 50 - 50 Fruit Juice Cordial, made from oranges and lemons. 26 FL. OZ NET. Preservatives: This food contains not more than 2 grains of sulphur dioxide to the pint. Kia-ora Industries Limited, Melbourne - Sydney - Australia".containers, bottles

The glazed stoneware pot is an oyster jar made by Powell potteries, Bristol, probably between 1860 and 1880. Pickled oysters were a regular food of the poor in England in the 19thc. Sam Weller, Charles Dickens’ character in Pickwick Papers (1836-37) commented that ‘Poverty and oysters always seen to go together’. In England, pickling oysters for transport to inland towns and long voyages became an industry. The jar was found in sand near the jetty in 1999.Whatever their provenance, they have an association with an event or activity on Gabo Island and for this reason have second level contributory significance for their potential to yield information relating to the cultural history of the lightstation.Ceramic jar. Squat shape, body of jar is cream coloured. Spots of mildew on side. The jar has a pronounced lip, short neck, sloping shoulders and rounded body. Just below the shoulder, the glaze colour changes from brown to stone."POWEL &DB Stol"

The Wodonga Brewery was established in Hume Street (now Church Street) Although relatively short lived the brewery had many changes of ownership. D. Hallahan commenced brewing in 1888. On the Fri 4 Jan 1889 Wodonga and Towong Sentinel announced that the Wodonga Brewery had been taken over by D. Clark of Melbourne. By Fri 27 Sep 1889 the proprietor was advertised as W. D. Busch. However, the Wodonga Brewery was sold at auction on Busch’s behalf on 25 Jan 1890. The entire property was knocked down to Mr Louis Wenkelmann, of Jindera, for £500. The brewery was again sold to Patrick Flanagan in 1891. In 1895 Flanagan rented the brewery to the partnership of J. R. Martin and A. Wilcox. When the partnership was dissolved in January 1896, Patrick Flanagan continued to operate the brewery. In September 1905 the Fresh Food and Frozen Storage Company of Melbourne announced that they had secured the old Brewery Buildings in Hume Street, Wodonga to establish a cream receiving depot. In November 1922 tenders were called for the removal of the Old Brewery buildings.This poster is of local significance as it advertises and early business in Wodonga.A coloured poster advertising Wodonga Brewery printed in black, red and white. It has a wood print background and has been mounted on board to protect it.Around the central name: "WODONGA BREWERY/ WODONGA" In the red section: "PALE / W.D. BUSCH/ALE" On either side inside circle: "WDB"wodonga brewery, w. d. busch, manufacturing industries wodonga

Semak is an Australian company, manufacturing Australian-Made equipment for the Foodservice Industry. It was established in 1948. The most famous Semak appliance is the 'Vitamizer'. Designed in 1948 it quickly became the standard for blending. An updated version was relaunched in 2012. The Semak vitamiser was advertised as a wonder machine which every housewife should have.Advertising claimed that the Semak could whip cream, grind coffee, blend jam, makes soups and sauces, makes cakes, sandwich spreads, ice-cream, special diets, puree fruit drinks, supper snacks, mayonnaise and dessert. It sold for £21. Demonstrations were conducted in electrical stores across the nation. A recipe book and full instructions for operation was included.This item is representative of a popular Australian-made kitchen appliance used across the country. A food vitamiser in 2 sections. Top section is detachable for cleaning. Has electrical cord attached.Surrounding power control: Semak Vitamiser Under base: CAT No. S2/ 230 - 25 V / 240W / 40 - 60kitchen appliances, food vitamisers, semak industries

North east Victoria was a major dairy producing region in the late nineteenth century. The Wodonga Butter Factory Ltd was established in 1892. Many families living in the town or on farms also owned their own cow for family needs and produced their milk and butter. This churn is representative of the equipment they used to process their own dairy products at home. This churn was made by E. Cherry & Sons which was established in Gisborne, Victoria in 1858. Edward Cherry (1830-1910) arrived in Australia from Hertfordshire, England, in 1855. The business manufactured churns and in 1875 opened a larger factory. On his death, the business was taken over by his son and continued to operate until the 1970s.This item has strong links to the history of Wodonga and north east Victoria. It has interpretative potential in the areas of local agricultural history, and the social history of food and farming.A wooden butter churn with metal turning handle and removable lid. The wooden paddle inside is attached to the turning handle which rotates to churn the butter. The model number is T1. It was probably made by E Cherry & Sons of Gisborne although the brand is blurred.On one side in black: "T 1"butter churns, dairying industry, domestic appliances, e. cherry churns

The Kiewa Butter Factory began in 1893, named after the Kiewa River on which it is located. By 1905, butter shipped from Kiewa was receiving a top price of 114 s per cwt at the London market. It continued to prosper until 1959 when it merged with Tallangatta Butter Factory and Creamery Co. Ltd to become the North Eastern Dairy Company. In 1985 this organisation was taken over by the Murray Goulburn Co-operative.This package is representative of an important industry in Wodonga and the surrounding district.A packing box for butter from the Kiewa North Eastern Dairy. Made from heavy cardboard with blue and yellow design.On Front: 24 x 1/2 lb PATS / Choicest grade Kiewa/ Pasteurised / Creamery Butter/ AUSTRALIA / Reg. No. 566E/ BUTTER A delicious food On sides: 24 x 1/2 lb PATS / Choicest grade Kiewa/ Pasteurised / Creamery Butter/ AUSTRALIA / Reg. No. 566E/ North Eastern Dairy Co. Ltd. / KIewa Australianortheastern dairy co, dairies and butter factories, dairy industry victoria

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

Set of four two page foolscap duplicated notice, titled "Decorated Tram No. 1024 to be run from depots", issued by The Traffic Manager to Depot Masters and other Officers.. Details arrangements for the tram, transport between depots, operating times with run numbers. Signed by R. C. Drummond. .1 - tram 1024 - for Eastern Suburbs Permanent Building Society Limited - 18/11/1976 .2 - tram 1024 - for Benson and Hedges - 25/2/1977 .3 - Tram 900 - QUF Industries - 22/3/1977 .4 - Tram 900 - Johnnie Walker Whiskey See also Reg Item 1394 for an Uncle Ben's Pet Food decorated tram and 1525 for other examples.trams, tramways, decorated trams, advertising trams, tram 1024, tram 900