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Kew Historical Society Inc
Photograph, Kew Flyer Team, c.1912
In 1903, an article in the Box Hill 'Reporter' noted that the Kew Flyer Cycle business had been started in 1893 by Harry F. Cooper, who was "the oldest cycle maker in the district". By 1903, the Kew Flyer business was located at 8 (later 14) Cotham Road where it was to remain an institution until its closure. Seven years later, W.D. Vaughan, in his 'Jubilee History of Kew, Victoria' (1910) wrote that: "Several cycling clubs have been born and died, suffering chiefly from the migration of the leading spirits in the organisations, but since 1900 the ‘Kew Flyer’ road race, instituted by Mr. H. F. Cooper, has been the cycling event of the year among local riders. It is run on the White Horse Road at Blackburn." Early newspaper reports record that distance of the Race was initially 10 miles but by 1906, the event was 15 miles, starting from the Travellers' Rest Hotel in Blackburn. Cooper's Kew Flyer business in Cotham Road introduced new technologies and models throughout its 56-years of operation. By 1908, it was claimed that the shop had been enlarged with new "workshops and [the] latest lathes and cycle building tools. [It] Is now one of the most up-to-date Cycle Works in Victoria". By the First World War, Cooper had expanded his business to include motorbikes with "Precision Engines". The Kew Flyer business and the annual road races continued through the War, even though a number of its staff left for the front. One of these was [Pte] Robert Charles Field Richardson, who joined the 6th Battalion, fought and was wounded at Gallipoli, and died of his wounds in a hospital in Alexandria, Egypt in 1915. In 1917, the death of Private H.S. Herbert was announced. He had been the winner of the Kew Flyer Cycle Road Race in 1913. He died in action in France, having fought at Gallipoli and in France at the Battle of Pozieres. The majority of bicycles advertised by Cooper were designed for men, although bikes for women and 'juveniles' were advertised as early as 1918, so they were probably manufactured throughout the period. Harry Cooper was to sell his Kew Flyer business in 1936, after 39 years of trading. The business he began continued until 1949.This is a very rare image [the location of the original is now unknown] of a Kew Flyer team. The photo was sourced and remained in the possession of the historian Dorothy Rogers, whose brother was an early member of staff in the firm. The photo is historically significant as it is the only known photograph of a Kew Flyer Team, and possibly the only known photo of Harry F. Cooper, the founder of the firm and a key figure in Victorian cycling history. Photograph, the second of two, from an earlier album photograph of the Kew Flyer Team in uniform with trainers and workers of the company. One of the men in the photograph is probably Harry F. Cooper, the proprietor of the Kew Flyer business in Cotham Road, Kew. Harry Cooper was the sponsor of one of the best known and oldest trader cycle races in Melbourne. The photograph remained in the possession of the Rogers family until its donation to the Society by John Rogers in 2015.Handwritten annotation by the historian Dorothy Rogers on reverse: "Kew Flyer Team from very old photo".kew flyer, harry f cooper, trader bike races - victoria - kew, kew flyer team -
Kew Historical Society Inc
Vehicle, Kew Flyer, Women's Roadster, c.1920
In 1903, an article in the Box Hill 'Reporter' noted that the Kew Flyer Cycle business had been started in 1893 by Harry F. Cooper, and that he was "the oldest cycle maker in the district". By 1903, the Kew Flyer business was located at 8 (later 14) Cotham Road where it was to remain an institution until its closure. In 1910, W.D. Vaughan, in his 'Jubilee History of Kew, Victoria' wrote that: "Several cycling clubs have been born and died, suffering chiefly from the migration of the leading spirits in the organisations, but since 1900 the ‘Kew Flyer’ road race, instituted by Mr. H. F. Cooper, has been the cycling event of the year among local riders. It is run on the White Horse Road at Blackburn." Early newspaper reports recorded the distance of the race as initially 10 miles but by 1906, the event extended to 15 miles, starting from the Travellers' Rest Hotel in Blackburn. Cooper's Kew Flyer business in Cotham Road introduced new technologies and models throughout its 56-years of operation. By 1908, it was claimed that the shop had been enlarged with new "workshops and [the] latest lathes and cycle building tools. [it] Is now one of the most up-to-date Cycle Works in Victoria". By the First World War, Cooper had expanded his business to include motorbikes with "Precision Engines". The Kew Flyer business and the annual road races continued through the War, even though a number of its staff left for the front. One of these was [Pte] Robert Charles Field Richardson, who joined the 6th Battalion, fought and was wounded at Gallipoli, and died of wounds in Alexandria, Egypt in 1915. In 1917, the death of Private H.S. Herbert was announced. He had been the winner of the Kew Flyer Cycle Road Race in 1913. He died in action in France, having fought at Gallipoli and at the Battle of Pozieres. The majority of bicycles advertised by Cooper were designed for men, although bikes for women and 'juveniles' were advertised as early as 1918, so they were probably manufactured throughout the period. Harry Cooper was to sell his Kew Flyer business in 1936, after 39 years of trading. The business he began continued until 1949.This is an historically significant and rare 1920s Kew Flyer Cycle in intact condition, with most of the original paintwork preserved on the frame. Harry F Cooper, who was the manufacturer of the cycle had a retail business and a factory in Kew. He promoted the Kew Flyer Road Race which was the most important trader-run cycle event in Victoria from 1900 to his retirement in 1936.An unrestored Kew Flyer Women's Roadster ca 1920, donated to the Kew Historical Society by John Wyatt in 2017. Original paint work and logo on the loop frame in navy blue, blue and gold, featuring Egyptian influences in the painted design . The rubber sprung saddle was made by Dunlop and has a serial number on a plate at the rear. The loop frame is original. Most of the cycle, on an initial evaluation following the donation were judged to be original, but with the addition of a later mudguard, reflector and chain guard. These have now been removed.Kew Flyerwomen's roadster, kew flyer, harry f cooper, businesses - kew, cycling -
The Beechworth Burke Museum
Photograph - Lantern Slide, c1900
This glass slide presents an image of the Old Beechworth Post Office and was taken in the year 1900. The building displayed within the image is not that of the post office in its original form; the post office originally consisted of only a simple wooden building. With the establishment and growth of new towns across Victoria, as well as an increased need for more consistent communications with the City of Melbourne, this modest building was soon deemed inadequate. In 1858 it was brought into the style of the changing times, with the tall clock tower added in 1865. This transition aligned with a pattern of refurbishment and conversion of many Beechworth buildings (which could be seen during the 1860s-70s), aiding in the growth and prosperity of the town. Early makeshift homes were turned into more substantial dwellings, featuring elements such as weatherboard, brick, and granites materials, and gabled or hipped roofs with iron lacework fringing the verandah. These refurbishments were temporarily halted in March of 1867 when a fire swept through the town, damaging many buildings including the post office. This led to further reconstructions on the building, including heightening of the clock tower, and in 1870 the two-storey Italianate style building was completed. The Old Beechworth Post Office itself also holds significance due to its connection with one of Australia's most infamous families. It reportedly played an important role in communicating the news of the 1880 murders of police at Stringybark Creek by the Kelly Gang. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques. This glass slide captures social and historical significance as it displays the Old Beechworth Post Office in 1900, a building that demonstrates the prosperity and growth of Beechworth as a town during this time period. This slide also holds a level of aesthetic significance due to the Italianate style building that is featured in its image; a style that became very popular during the nineteenth-century. Thin translucent sheet of glass with a square image printed on the front and framed in a black backing. It is held together by metal strips to secure the edges of the slide.Obverse: x / burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, beechworth post office, beechworth post office kelly gang, 1900, 1900 beechworth, growth of beechworth, 1867 beechworth fire, old beechworth post office, beechworth post office reconstructions, italianate style, italianate style buildings, italianate style beechworth post office -
The Beechworth Burke Museum
Photograph - Lantern Slide, c1900
This picture shows an angle of Beechworth Primary School (State School number 1560) which is also pictured in the building's entry in the Victorian Heritage Register (VHR record 1718). The school began as a national school in 1858 as an alternative to Wesleyan and Anglican schools already operating in the area. Its name was changed to Common School number 36 in 1862 and the Beechworth Academy prior to being taken over by the Education department in 1873. The new premises were built in 1875 utilising the skills of architect Henry Bastow though the original design may be attributable to the firm Wharton and Vickers. The design was used with modifications for other schools in Victoria, including the Competition School in Errol Street, North Melbourne. The school moved to the building pictured from its original premises in Loch Street, designed by Thomas Dalziel, which later became the office of the Ovens Advertiser. The school was opened on 2 July 1875 by former Beechworth resident G.B. Kerferd, who was then the Premier of Victoria. The image shows approximately ninety older students at the school in approximately 1900. There are approximately equal numbers of boys and girls pictured, with most of the individuals pictured appearing to be between the ages of twelve and fifteen. Although the school had more than 1000 students enrolled at its height, enrolments had declined to 304 in 1890. Also visible is a fringe of sequoia pines which were planted by the school children as a project lasting through to the late 1930s. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.The image is significant because it sheds light on the educational infrastructure present in Beechworth in the early part of the Twentieth Century, including the prevalence of education for students after current-day primary-school age and the education of girls. It also provides insight into the building and design practices used by Government departments at the time. Thin translucent sheet of glass with a circular image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.Obverse: L / burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, schools, education, high school, primary school, common school, state school, state school 1560, common school 36, beechworth academy, g.b. kerferd, thomas dalziel, henry bastow, victorian heritage register, beechworth primary school, girls education, boys education, public schools, education department, pines, trees, sequoias, competition school -
Bendigo Historical Society Inc.
Newspaper - PETER ELLIS COLLECTION: NEWSPAPER ARTICLE, 22nd May, 2015
Newspaper article from the Bendigo Advertiser stuck on A4 printer paper. Article is dated Friday, May 22, 2015. Article is accompanied by a picture of Peter Ellis and is captioned as such. Article is written by Jason Walls and is titled Loss for folk music history. Article reads: Celebrated Bendigo Music identity, historian and naturalist Peter Ellis OAM died suddenly this week after a brief illness. He was 69. Mr Ellis was highly regarded as a collector and preserver of traditional bush music, with his collection of dance related material the largest in the National Library Archives in Canberra. He was award an Order of Australia Medal in 2012 for services to the arts through the collection and preservation of Australian folk history and heritage. Mr Ellis was a founding member of the Emu Creek Bush Band and achieved two platinum and several gold records in his more than 30 years with the Wedderburn Old Timers Band. Fellow Emu Creek Bush Band member and close friend John Williams said Mr Ellis had made an invaluable contribution to the preservation of Australia's musical and dance heritage, travelling extensively across the country recording and notating folk music. 'In 500 year's time, as long as they can find the technology, people will be able to resurrect our bush dancing history,' he said. 'Probably his biggest legacy is the number of young people who have been made aware of bush music and are continuing to play it today and will play it in the future.' As a life member of the Bendigo Field Naturalists Mr Ellis was also involved in campaigns to establish the Whipstick and Kamarooka State Parks and the Saloman's Gully and Jackass Flat Flora Reserves, and lobbied for the inclusion of One Tree Hill in the Greater Bendigo National Park. A public funeral service will beheld at the Mulqueen Family Chapel on Bridge Street on Monday, May 25, at 11am, followed by a private cremation. An extensive obituary will be published in Saturday's Bendigo Advertiser.person, individual, peter ellis oam -
Federation University Historical Collection
Document, Judge Rogers, 1869
Typed PagesTo His Honor Judge Rogers Sir I am glad to see that you are favorable to the establishment of a Mining School for, and in, this Colony and if when established, it should prove to be so valuable an adjunct as [ ? ]institution in Cornwall is to the philosphy of mining generally, the satisfaction uou will derive from teh promonant positino you have taken in the matter will amply repay you its benefactor. The principle of technological teachings is being organised by out great [ ? ] more and more almost daily. A mining school is purely technological in its character and its teachings will tend to make plain many of the obscurities of the presnt systems of mining, and its engineering. I will recollect a very strong hint given by you fro the Bench at Ballarat East over two years since in the cast of Bull v Bunning City which I gave evidence to the effect, "Don't you think that an institution of Engineers would be able to try such a case better than in this court. The question was partly on of technology and would [speak] volumes in its answer if followed into all its [ ? ] and [implications]. I have studued [ ? ] practical perhaps all of the branches which would have to be taught, and studied in a mining school, and shall be most happy in assisting, so far as my limited capacity will allow in this matter. I may add that I hold the first certificate from the committee of Inquiry as established by the Government, for competency as a mining inpector for this Colony, I am Sir your most Obt and humble servant [illegible]ballarat school of mines, merger, amalgamation, establishment, phoenix foundry, letterhead, warrington rogers -
Federation University Art Collection
Work on paper - Printmaking, Deborah Klein, 'Ideaopsis Gaura (Dainty Paperwing)' by Deborah Klein, 2015
Deborah KLEIN (1951- ) Born Melbourne, Victorian Deborah Klein grew up in the inner southern suburb of St. Kilda and lived and worked in London from 1973 - 1980. The experience of living in both of these places was to have a significant and enduring influence on her work. She gained degree and post degree qualifications from Chisholm Institute of Technology, Melbourne and Gippsland College of Advanced Education, and a Research MA from Monash University, Gippsland. Since 1988 Deborah Klein has held regular solo exhibitions and participated in group exhibitions in Australia and internationally. Her work is represented in public and university museum collections throughout Australia. This work was exhibited as part of "Parallel Prints", a Prints project which presents the same exhibition simultaneously in New Zealand, at Art at Wharepuke and at a gallery in another part of the world. Eleven Australian artists were invited to join New Zealand-based printmaker Mark Graver to contribute to a portfolio that will be shown simultaneously at Art at Wharepuke, New Zealand and the Art Gallery of Ballarat, Victoria. Using the uniqueness of the reproducible print allows for the same works to be viewed at the same time on opposite sides of the world. This highlights the democratic nature of printmaking and questions the aura of the unique. Which venue is showing the 'real' work? Which the reproduction? The Australian artists showing alongside Mark Graver are James Pasakos, Bruno Leti, Martin King, David Frazer, John Neeson, Antonietta Covino-Beehre, Deborah Klein, Deborah Williams, Melissa Smith, Jodi Heffernan and Susanna Castleden. The original concept, Parallel Prints NZ-UK in 2013, included invited artists from the UK and New Zealand. It featured the work of twelve diverse artists presented in a portfolio set. Each artist contributed one work on 300 x 300 mm paper in an edition of thirty-six. Part of the concept behind the project was to donate twelve of the portfolio sets to international collections. Institutions that have accepted a portfolio include the Victoria & Albert Museum and The Ashmolean Museum in the UK, the Jinling Museum of Art in Nanjing, China, and the Whangarei Art Museum, in New Zealand. In 2015 a portfolio set was donated to the Federation University Art Collection. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Framed, handcoloured linocut depicting a butterly with a female head with braided hair.Edition 2/36artist, artwork, deborah klein, klein, butterfly, insect, animal, printmaking, linocut, parallel prints, alumni -
Flagstaff Hill Maritime Museum and Village
Audio - Phonograph, Thomas A. Edison, Edison Laboratory, c.1909
The Edison Fireside Phonograph Combination Type A model phonograph was an open horn model. This machine was produced around 1909, just after the introduction of 4-minute record cylinders in 1908.; the selection lever on the front was either 4 or 2-minute choice. This Fireside model has a fluted octagonal horn that attaches to the reproducer on the machine and is suspended by on ring by a horn crane attachment. The phonograph machine is powered purely by mechanical means, winding the crank handle on the side of the machine to start the belt-driven, spring-loaded motor inside. The sound comes from a pre-recorded, vertical cut record cylinder, which slides over the Mandle, a smooth rotating drum. The reproducer, an all-in-one needle, amplifier and speaker, is lowered onto the cylinder, the needle picks up the sound and plays it on the speaker and the attached horn amplifies the sound. The phonograph machine was invented by Thomas Alva Edison in the late 19th century. Edison adopted the idea from the technology of the telegraph machine. He patented the phonograph in early 1878. It was able to record sound and play it back. This amazing invention opened up a whole new world of entertainment, where wax cylinders of pre-recorded sound could be purchased with a wide variety of music and played over and over. The first wax cylinders were white and used a combination of bees' wax and animal fax or tallow. By 1892 Edison was using 'brown wax' cylinders that ranged from cream through to dark brown. The Edison Phonograph Company was formed in 1887 to produce these machines. He sold the company in 1855 to the North American Phonograph Company but bought that company in 1890. He then started the Edison Spring Motor factory in 1895, and the National Phonograph Company in 1896. In 1910 the company became Thomas A. Edison Inc. In 1898 Edison produced the Edison Standard Phonograph, the first phonograph to carry his own trade mark. He began mass producing duplicate copies of his wax cylinders in 1901 using moulds instead of engraving the cylinders. The wax was black and harder than the brown wax. The ends of the cylinders were bevelled so that the title's label could be added. The last phonograph machine to use an external open horn was produced in 1912 due to the much more robust round records being invented. In 1913 Edison started producing the Edison Disc Phonograph. The company stopped trading in 1929.This Edison Fireside Phonograph model is significant for being one of the last models to have an external horn. It is also significant for its connection with the invention of the phonograph, which made music and sound available for domestic enjoyment. It was used for entertainment and education, even teaching languages. It signalled a new era of music that could be reproduced and played anywhere. It is also significant for its short time span of popularity, just a few decades, due to the growing use of records, which gave a much higher quality sound and were more robust.Phonograph; Edison Fireside Phonograph, Combination Type, Model A. It is in a wooden case with a domed lid, metal catches on each side and a folding wooden handle. It has a metal drum and a reproducer mechanism. The metal and wood crank handle starts the machine’s motor. A sliding lever at the front selects the speed for four- or two-minute cylinders. The inscribed plate has the maker, serial number, patents and other information. The reproducer also has an inscription. It has a curved metal open horn attachment. Made in Orange, New Jersey in c.1909. NOTE: the fluted octagonal horn is catalogued separately.Case front, in script, Edison’s early ‘banner’ decal “Edison” On the front of the machine “Thomas A Edison TRADE MARK” On the maker’s plate; "Edison Fireside Phonograph Combination Type" Serial number “14718” Around sound outlet; “C 4076” “REPRODUCER LICENCED FOR USE ONLY ON EDISON PHOTOGRAPHS SOLD BYT.A. EDISON INC.” At the front edge “4 MINUTES 2flagstaff hill, maritime museum, maritime village, warrnambool, great ocean road, shipwreck coast, gramophone, phonograph, music player, entertainment, audio equipment, edison, thomas a edison, horn, phonograph horn, amplifier, audio, sound recording, sound playback, phonograph machine, phonograph cylinder, external horn, edison phonograph company, wax cylinders, sound reproduction, edison spring motor factory, national phonograph company, thomas a. edison inc, crank-operated motor, open horn phonograph, 4 speed, 2 speed -
NMIT (Northern Melbourne Institute of TAFE)
Photograph: Mr. George Thomas Teacher and Councillor CTS 1937-1972
Mr. George Thomas' connection with Collingwood Technical School began as a junior technical student at Collingwood in 1913. He then became an apprentice in the electrical trades during which time he also undertook a Diploma course in Electrical Engineering. Mr Thomas was appointed as a teacher (part-time) of Electrical Wiring at Collingwood in 1922 having had previous experience teaching in Geelong at the Gordon Institute of Technology. In 1930 Mr Thomas became a full-time teacher in Electrical Trades, the year of the commencement of the Apprenticeship Commission in Victoria. In 1937 he was instrumental in introducing electroplating as a trade whereas it had previously only been taught as a section of the Electrical Trades. This was a period of severe economic constraints following the Great Depression and spending on education was limited. Needing the latest knowledge of industrial practices, Mr Thomas canvassed electroplating industries around Melbourne seeking employment opportunities and met with favourable responses. He approached Quinton’s electroplating firm in North Melbourne with the proposal to work for them on Saturday mornings without payment. In return for his labour, he asked to be taught the basics of the trade. During the week he was able to impart his knowledge to his students. Initially, he wanted to develop electroplating as an outlet for the Youth Employment Training Scheme. Once the class was firmly established, he submitted a proposal to the Education Department to establish an Electroplating Department, and this became the first of its kind in the southern hemisphere. He gave up teaching in 1939 to become the Northcote City Electrical Engineer where he served for 26 years. During this time he was also a Consulting Electrical Engineer to Box Hill and Port Melbourne Councils. His association with Collingwood Technical School (and later, College) continued, first as an examiner on the State Electricity Commission (SEC) panel and from 1947 as a member of the School Council. He was president of the Council in 1961 and 1962. He also represented the College on the Northern Regional Council and participated in the selection of Electrical Trades teachers. For four years, 1967-1971, he represented the metropolitan Technical Schools and Colleges on the Council of the Monash University, in which capacity he gave outstanding service to technical education. George H. Thomas attended his first Council meeting on June 12, 1947 and remained on the Council until the secondary and post-secondary sections were separated in 1981 – a period in excess of 34 years. (See Scott p36).Black and white photographs of Mr. George Thomas who had a long association with Collingwood Technical School and Collingwood Technical College, spanning the years 1937-1972. He began his connection with the school as a teacher and went on to become a member of the School Council. He introduced Electroplating as a trade to be taught at Collingwood Technical School in 1937. (Scott p36) The photographs include one of Mr. George Thomas in Monash University regalia 1971. Another of Collingwood Technical School Council 1972 with Mr. Thomas. Images also include an excerpt from Mr. Scott's history.collingwood technical school, george h. thomas, electroplating course, nmit -
The Beechworth Burke Museum
Photograph - Lantern Slide, c1900
Chiltern Pharmacy, now called Dow's Pharmacy, opened in 1859 at a time when the township of Chiltern was experiencing a second-wave gold rush that redistributed the balance of commercial and social activity in the region. David McEwan, father of Prime Minister John McEwan, was one of the first pharmacists practicing at the business. It was purchased in 1929 by pharmacist Hilda Dow who ran the business with her apprentice and husband, Roy Dow, until they closed the business in 1968. In 1988, after founding the North East branch of the National Trust, the Dows donated the premises with its entire fittings and stock. Some of the more than 4,000 items in stock at the time of closure in 1968 were present in the shop when the Dows took charge in 1929 and date to the late Nineteenth Century (around the time this image was taken). Hilda Dow (nee Grey) was born in 1897, the daughter of a police magistrate. She enrolled to study at the Victorian College of Pharmacy in 1919 and worked initially for Poynton's Pharmacy in Morwell before purchasing the Chiltern Pharmacy that was later named after her. She was a member of the Pharmaceutical Society of Victoria, a hospital committee and Board, the Red Cross and the Infant Welfare Association and held office for the Chiltern branch of the Country Women's Association. Her sister Helene Grey received an OBE for her work as Lady Superintendent of the Royal Melbourne Hospital. Although Hilda Dow was not Australia's first female pharmacist (this was Caroline Copp in 1880) the preservation of the pharmacy and the stories it presents sheds light on the general issue of recognition for female medical pioneers in Australia. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This image is significant as it provides insight into social and commercial infrastructure available in the North-East region of Victoria in the late Nineteenth and early Twentieth Centuries. The business pictured is also associated with a Prime Minister of Victoria and some of Victoria's first female medical and pharmaceutical practitioners. Thin translucent sheet of glass with a circular image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, hilda dow, roy dow, chiltern pharmacy, dow's pharmacy, chiltern, indigo shire, north east victoria, history of pharmacies, women in pharmacy, women in medicine, women in business, david mcewan, john mcewan, national trust, national trust victoria, north-east victoria national trust, heritage buildings, industrial heritage, helene grey, pharmaceutical society of victoria, victorian college of pharmacy, country women's association, caroline copp, royal melbourne hospital, red cross, infant welfare association -
The Beechworth Burke Museum
Photograph - Lantern Slide, c1900
Miners from Snake Valley lobbied the Victorian Government in 1855 to make land available for sale for farming purposes as an alternative occupation and income for people who wished to stay in the region but move away from gold mining. A secondary motivation was to increase the supply of fresh produce and decrease prices of items that otherwise needed to be transported from Melbourne or other regions. Forty-three country lots were initially offered in the Three Mile area, ranging in size from two to ninety acres and costing from £1 to £3 per acre. An additional eighty-five country lots were auctioned later in the year, in addition to many smaller suburban lots. More lots were offered than sold, initially, but this represented conditions of sale requiring the total purchase cost up front which many people interested in purchasing could not afford, especially as land purchased for farming would accrue substantial additional costs for clearing and labour before becoming productive. Further lobbying activities and the election of parliamentary members sympathetic to the cause took place through the 1850s. Ovens Parliamentary Member, Daniel Cameron, was re-elected in 1856 on a platform of surveying the land for public selection with deferred payment options. Land reform remained an issue in the area through the 1850s and early 1860s, impacting broader decisions in the new State of Victoria relating to voting rights, use of Crown land and the farming of land that wasn't always suitable for the purpose. This photograph depicts Beechworth in approximately 1900, after several waves of land sales resulted in increasingly levels of development. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is significant because it provides insight into Beechworth's built environment and infrastructure in the early Twentieth Century, around the time of Australia's Federation. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a square-edged image printed on the front and framed in a black backing. It is held together by metal strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, indigo shire, north-east victoria, farming, squatters, miners, agriculture, land-clearing, land reform, daniel cameron, land sales, three mile, snake valley, tarrawingee -
Flagstaff Hill Maritime Museum and Village
Instrument - Hydrometer, J Long (Joseph Long), late 19th - early 20th century
This Sike’s Hydrometer was donated by the Port Fairy Customs Office as it was no longer required by them due to a change in the law. The hydrometer was part of a system for Ullaging or calculating the amount of liquid remaining in a container of liquor such as a barrel, and the amount of alcoholic content in the contents. It can also measure the free space or head space remaining. Hydrometers were used to measure the density, or relative density, of liquids from the late 1600s. In 1816 Bartholomew Sikes won the competition for the most useful accurate hydrometer. Hydrometers were commonly used by distillers, vintners, and brewers to establish accurate measures of alcohol concentration in their beverages. Following this manufacturing process, government inspectors and excise officers used them to check that the labelled indications of alcohol-proof were correct and that the right amounts of duty were being paid.The Sikes hydrometer is of local significance because of its association with the Government's Customs Office in Port Fairy, in the southwest region of Victoria. It is also associated with Bartholomew Sikes, whose design of a hydrometer was chosen in 1816 as being the most useful and accurate hydrometer. The hydrometer has evolved into the digital version available today to measure density of liquids.Sikes Hydrometer and thermometer in a fitted wooden case with crimson lining inside the lid and dark lining in the base. The case has ten vertical pegs to secure the weights. The brass hydrometer has a spherical float and eight thick brass horseshoe-shaped weights. The serial number is on each section of the float and all weights. Both sides of the float’s upper flat stem have a scale from 0-10, with five divisions between each number. The eight weights are numbered from 20 – 90 in increments of 10. The set includes a mercury thermometer mounted on an ivory back plate labelled with Fahrenheit and Centigrade Scales. The Sikes hydrometer set was made by Loftus of London. The hydrometer model is IID 510, Serial Number is 14674, calibrated by Longs, London. All parts of the float and eight weights are inscribed with Serial Number “14674” The float stem is stamped "SIKE'S IID 51o” Calibrator, "LONG LITTLE TOWER ST LONDON" The weights are numbered individually ”20”, “30”, “40”, “50”, “60”, “70”, “80” or “90” Each weight in inscribed; symbol “(J L) [inside an ova, with textured background]” The thermometer inscribed: “LOFTUS OF LONDON”flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, measuring instruments, customs tax, weighing instrument, sike’s hydrometer, calibrator long of london, loftus of london instrument maker, loftus, j long, sikes hydrometer, scientific instrument, pressure measurement, measuring instrument, ullage tool, customs, excise duty, tax, alcohol content, proof, calibrate, standard weights and measures, tariff, scientific instrument makers, specific gravity, liquid density, alcohol testing, technology, alcohol measurement, proof spirit, wine and spirits merchants, local business, brass measuring instrument, port fairy, customs office, port fairy customs, joseph long, instrument maker -
Federation University Historical Collection
Book, University of Ballarat Research + Innovation Digest
Black soft covered book of 48 pages. Contents include: * Technologies that combat climate change by Alberto Boretti * Case Studies in keeping food safe by Benu Adhikari * Learning to lead - leading to learn by Neil Trivett * Depression, diabetes and motivation by Mirella di Benedetto * Valueing Lake Wendouree by Julian Lowe * What's in a Name by Laura Kostanski * Optimizing regional and international research by John Yerwood * Sport, physical activity and health research by Warren paynbe * Climate secrets in sediments by Peter Gell * UB Sports Injuty Centre supported by IOC * Men's Sheds and other learning places by Barry Golding * New economy, new work, new qualificatins by Erica Smith * Cross-Cultural communications in a shrinking world by Georgina Tsoldis * Child Protection and family services reform by Angela Murphy * Making a difference for older Victorians by Sally Wellard * Making good (and goodly) profits by Jackie Tuck * Not too much 'ordinary' about The Ordinary by Lorraine Sim * Gaming machines and regional gamblers by John McDonald * Toe nail clippings reveal their secrets by Kim Dowling * Magnificently preserves magafauna trackways in the Victorian volcanic plains * A stuttering start for a stunning outcome * Supporting patients and theor carers * Out od Africa and beyond * Taking a hard lok to avaid hard knocks * Skilling people for business success by Andy Smith * Promoting risk awareness in industry by David Borys * Researching China's rise and ris by Mike Willis * Sex hormones link to heart disease by Fadi Charchar * Human Factors in computer security * Are our rivers up the creek by Peter Gell * Wmen as managers and entrepreneurs by Glenice Wood * Revisioning values and norms by Jane Mummery * 'Wimmera' - an Epic Poem by Homer Rieth * Recycling, consumerism, climate change and art practice by Marie Purtill * Investing in ecologically sustainable development by jerry Courvisanos * Indigenous peoples of the goldfields * Astists install images of sustanability by Jill Orr "Addressing disadvantage and nequality with passion by John Smyth * Breaking up insulin hexamers by Mark Myers david battersby, research, frank stagnitti, jill orr, john smyth, fred cahir, peter gell, andy smith, grant meredith, stuttering, kim dowling, stephen carey, megafauna, john mcdonaldgaming machines, men's sheds, barry golding -
Victorian Aboriginal Corporation for Languages
Book, Joseph Lo Bianco, Australian policy activism in language and literacy, 2001
Australian Policy Activism in Language and Literacy presents the dynamics of language and literacy policy activism in Australia by capturing accounts of many of those most deeply engaged in Australia?s distinctive practice of Language and Literacy policy-making and its effects. This book describes how policy texts came about. 1. From policy to anti-policy: how fear of language rights took policy-making out of community hands /? Joseph Lo Bianco 2. Australia's language /? Paul Brock 3. Politics, activism and processes of policy production: adult literacy in Australia /? Rosie Wickert 4. Although it wasn't broken, it certainly was fixed: interventions in the Australian Adult Migrant English Program 1991-1996 /? Helen Moore 5. Advocating the sustainability of linguistic diversity /? Michael Singh 6. The cost of literacy for some /? Anthea Taylor 7. (E)merging discourses at work: bringing together new and old ways to account for workplace literacy policy /? Geraldine Castleton 8. The melody changes but the dance goes on - tracking adult literacy education in Western Australia from 'learning for life' to 'lifelong learning': policy impacts on practice 1973-1999 /? Margaret McHugh, Jennifer Nevard and Anthea Taylor 9. Sleight of hand: job myths, literacy and social capital /? Ian Falk 10. National literacy benchmarks and the outstreaming of ESL learners /? Penny McKay 11. Open for business: the market, the state and adult literacy in Australia up to and beyond 2000 /? Peter Kell 12. Inventiveness and regression: interpreting/?translating and the vicissitudes of Australian language policy /? Uldis Ozolins 13. Deafness and sign language in government policy documents 1983-1990 /? Des Power 14. Imprisoned by a landmark narrative? Student/?teacher ratios and the making of policy /? Merilyn Childs 15. Ideologies, languages, policies: Australia's ambivalent relationship with learning to communicate in 'other' languages /? Angela Scarino and Leo Papademetre 16. Reconciled to what? Reconciliation and the Norther Territory's bilingual education program, 1973-1998 /? Christine Nicholls 17. Sing out that song: the textual activities of social technologies in an Aboriginal community /? Jack Frawley.language activism, linguistic diversity, adult literacy, education, sign language, reconciliation, esl programs -
The Beechworth Burke Museum
Photograph - Photograph - Reproduction, Unknown
This image is a reproduction of an 1899 original depicting the 'Williams Good Luck Mine' on the Mopoke Reef (also called 'Morepork Gully') in the Dingle Ranges, approximately three miles from Beechworth. The foreground of the image is littered with piles of smashed rock and detritus, known as ‘mullock’, beside a reinforced mine shaft, a vertical access passageway allowing miners to enter the mine and haul ore out using lifting technology such as a poppet heads, whims or windlasses. A group of miners and a dog appear close to an open-sided miner’s hut. Following the discovery of gold at Beechworth in 1852, rushes quickly followed at surrounding creeks and gullies in the district. In the late nineteenth and early twentieth centuries, small syndicates of miners continued to work old or abandoned quartz reefs, often persisting without the assistance of heavy machinery to remove the large amounts of rock, in order to obtain yields at ever greater depths. The group of miners in this photograph are Mr. Roger Williams and Sons, who revived operations at the ‘Old Good Luck’ mine on the Mopoke Reef in the Dingle Range near Beechworth around 1892, working the site for more than two decades. An emigrant from Cornwall with experience in the tin mining industry, 19 year old Roger Williams senior sailed to New Zealand in 1840, then to Australia where he spent time in the Bendigo Gold Fields before settling in Beechworth in the early 1860s. Mr Williams senior worked on various mining activities in the district, including the Rocky Mountain Tunnel project. Conversant with the character of gold-bearing reefs in the area, the syndicate dug an eight hundred foot tunnel, digging down as far down as two hundred feet with little capital save their labour, to connect and provide better working access to the mass of reefs and veins in the vicinity. Progress was hampered by poor air quality charged with fumes from dynamite and large quantities of rock had to be crushed to obtain payable yields. The Victorian Goldfields are filled with ruins and remnants of the area's rich mining history, ranging from small alluvial diggings to the remains of huge mining companies. Site names often changed several times throughout the nineteenth and twentieth centuries. Some sites were abandoned and forgotten, others were worked continuously over many decades. The names of mines were often repeated at different locations throughout the Victorian Goldfields. For example, there is a Mopoke Gully heritage mine near Fryers Creek, Victoria. 'Mopoke' is a common onomatopoeic name for Morepork and Australian Boobook owls. This image has historical, social and research significance for patterns of emigration during of the Victorian Gold Rush, and the historical, social and environmental impacts of mining at Beechworth at the turn of the nineteenth and twentieth centuries. As gold became scarce and government support and large company investment waned, poor hard-working miners laboured intensively to make a living through periods of high unemployment. This image can be compared and studied alongside other historical mining photographs and objects in the Burke Museum Collection. It has potential to improve our understanding of miners working conditions and the shifting character of mining in the Beechworth district. Black and white rectangular reproduction photograph printed on matte photographic paper.Obverse: Williams Good Luck Mine Beechworth / Roger! / Reverse: 6858 / burke museum, beechworth museum, beechworth, gold fields, gold rush, victorian gold rush, gold ming history, colonial australia, australian gold rushes, mining technology, beechworth historic district, indigo gold trail, migration, indigo shire, good luck gold mine, victorian goldfields, mining syndicates, gold fever, quartz-mining, small-scale mining, old good luck mine, mopoke gully, quartz reefs beechworth -
Lara RSL Sub Branch
Book, Nautical Press, HMAS Melbourne 25 Years
HMAS Melbourne (R21) was a Majestic-class light aircraft carrier of the Royal Australian Navy (RAN). Operating from 1955 until 1982, she was the third and final conventional aircraft carrier to serve in the RAN. Melbourne was the only British Commonwealth naval vessel to sink two friendly warships in peacetime collisions. The ship was laid down for the British Royal Navy as the lead ship of the Majestic class in April 1943, and was launched as HMS Majestic (R77) in February 1945. At the end of World War II, work on the ship was suspended until she was purchased by the RAN in 1947. At the time of purchase, it was decided to incorporate new aircraft carrier technologies into the design, making Melbourne the third ship to be constructed with an angled flight deck. Delays in construction and integrating the enhancements meant that the carrier was not commissioned until 1955. Melbourne never fired a shot in anger during her career, having only peripheral, non-combat roles in relation to the Indonesia-Malaysia confrontation and the Vietnam War. However, she was involved in two major collisions with allied vessels. On the evening of 10 February 1964, Melbourne collided with and sank HMAS Voyager when the Daring class destroyer altered course across her bow. Eighty-two of Voyager's crew were killed, and two Royal Commissions were held to investigate the incident. The second collision occurred in the early morning of 3 June 1969, when Melbourne collided with and sank the Allen M. Sumner class destroyer USS Frank E. Evans in similar circumstances. Seventy-four United States Navy (USN) personnel died, and a joint USN–RAN Board of Inquiry was held. These incidents, along with several minor collisions, shipboard accidents, and aircraft losses, led to the reputation that Melbourne was jinxed. Melbourne was paid off from RAN service in 1982. A proposal to convert her for use as a floating casino failed, and a 1984 sale was cancelled, before she was sold in 1985 and towed to China for breaking. The scrapping was delayed so Melbourne could be studied by the People's Liberation Army Navy (PLAN) as part of a secret project to develop a Chinese aircraft carrier and used to train PLAN aviators in carrier flight operations. HMAS Melbourne was decommissioned on 30 June 1982, having spent 62,036 hours underway and having steamed 868,893 nautical miles. A proposal to convert her for use as a floating casino failed, and a 1984 sale was cancelled, before she was sold for scrap in 1985 and towed to China for breaking. The scrapping was delayed so Melbourne could be studied by the People's Liberation Army Navy (PLAN) as part of a secret project to develop a Chinese aircraft carrier and used to train PLAN aviators in carrier flight operations.The pictorial history of HMAS Melbourne with rare photos. Now a scarce title and highly desirable title that is now long out of print. Has provenance history of all ships movements from 1955 till decommissioned.HMAS Melbourne 25 YearsOn the front page is a picture of HMAS Melbourne with the words at top "H.M.A.S. Melbourne. At bottom are the words in orange, '25 Years'. In white, are the words 'by Ross Gillett' then 'Forward by Rear Admiral G.G.O. Gatacre C.B.E. DSO. DSC & Bar, RAN'. On the rear page is a list of all the Captains that served on the HMAS Melbourne between 1955-1980.hmas melbourne, aircraft carrier, royal australian navy, australian navy, westland whirlwind, sea venom, fairy gannet, bristol sycamore, westland wessex, douglas skyhawk, grumman tracker, westland sea king, fleet air arm, hmas albatross, nowra -
Flagstaff Hill Maritime Museum and Village
Domestic object - Knife
From the early days of our race, the knife represented one of the first and most important tools that enabled rise of our technology, military, culture, science and all other things that brought us to this point of modern civilisation. As a vital tool for survival, combat, construction and food preparation, the knife quickly became the most basic tool from which all others were born. In those ancient times, 500,000 years ago, sharpened stones started slowly evolving, becoming more and more like their modern counterpart. Before the time when fire enabled the melting of the various metals, and forging them into modern knives, their stone counterparts received several visual upgrades. Double bladed knives were most popular, and their wooden or stone hilts were decorated with animal skins and feathers. Those knives represented a great deal of pride for the warriors and elders who owned them, and that tradition continued to be practised with the arrival of the Bronze Age. The appearance of metallurgy brought the ability to create knives from softer types of metal. Even though knives from bronze did not provide durability over longer periods of time [easily dulled, and susceptible to corrosion), their sharpness and slim designed proved to be superior to any stone knife tool. As the centuries went on, iron and then steel became commonplace across the entire world. Knives created from those materials were much more durable and easier to maintain their sharpness after prolonged use. During medieval times in Europe, steel metallurgy managed to evolve knives from small single or double-bladed edges to larger sizes - swords, spears and axes. Even with all those advancements, the use of knives as an eating utensil continued to be used in some small circles. Even as early as the 15th century, wealthy circles of people started carrying personal knives, intended for double use - both eating and defending against threats. During those times the host were not obliged to provide their guest with any kind of eating utensil in addition to plates, so wealthy males used their eating knives for cutting their own meals, and the meals of nearby female guests. Slim double-bladed knives were good for cutting and piercing foods. As the use of forks became widespread in the whole of Europe by the late 17th century, most people used this kind of small knife on a regular basis (a combination of two knives, one for stabilising and other for cutting the meal). http://www.eatingutensils.net/history-of-cutlery/knife-history/The knife is one of the most important items that has enabled the development of civilisation over thousands of years.Carving knife with wooden handle and rusted slender metal blade.None.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, knife, kitchen equipment, dining -
Flagstaff Hill Maritime Museum and Village
Functional object - Standard avoirdupois weights, Avery Ltd, 1950s
A weight made in England by W&T Avery a British manufacturer of weights and weighing machines. The company was founded in the early 18th century and took the name W & T Avery in 1818. The undocumented origin of the company goes back to 1730 when James Ford established the business in the town of Digbeth. On Joseph Balden, the then company’s owner’s death in 1813 William and Thomas Avery took over his scale making business and in 1818 renamed it W & T Avery. The business rapidly expanded and in 1885 they owned three factories: the Atlas Works in West Bromwich, the Mill Lane Works in Birmingham and the Moat Lane Works in Digbeth. In 1891 the business became a limited company with a board of directors and in 1894 the shares were quoted on the London Stock Exchange. In 1895 the company bought the legendary Soho Foundry in Smethwick, a former steam engine factory owned by James Watt & Co. In 1897 the move was complete and the steam engine business was gradually converted to pure manufacture of weighing machines. The turn of the century was marked by managing director William Hipkins who was determined to broadening the renown of the Avery brand and transforming the business into specialist manufacture of weighing machines. By 1914 the company occupied an area of 32,000m² and had some 3000 employees. In the inter-war period, the growth continued with the addition of specialized shops for cast parts, enamel paints and weighbridge assembly and the product range diversified into counting machines, testing machines, automatic packing machines and petrol pumps. During the second world war, the company also produced various types of heavy guns. At that time the site underwent severe damage from parachute mines and incendiary bombs. Then from 1931 to 1973, the company occupied the 18th-century Middlesex Sessions House in Clerkenwell as its headquarters. Changes in weighing machine technology after World War II led to the closure of the foundry, the introduction of electronic weighing with the simultaneous gradual disappearance of purely mechanical devices. The continued expansion was partly achieved through a series of acquisitions of other companies. After almost a century of national and international expansion, the company was taken over by GEC in 1979. Keith Hodgkinson, managing director at the time, completed the turn-around from mechanical to electronic weighing with a complete overhaul of the product range of retail sales of industrial platform scales. In 1993 GEC took over the Dutch-based company Berkel and the Avery-Berkel name was introduced. In 2000 the business was in turn acquired by the US-American company Weigh-Tronix, who already owned Salter, and is today operating as Avery Weigh-Tronix. An item used used by grocers and merchants to weigh store bought goods around the 1950s. This item gives an insight into social history of the time.Weights, metal, silver electroplated, 1 x 2lb, 2 x 4lb, 1 x 7lb. (4) all government stamped, made by Avery Ltd.Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, weight, imperial weight, imperial standard weights and measures, imperial standard weight -
Flagstaff Hill Maritime Museum and Village
Functional object - Weight Avoirdupois, Avery Ltd, 1940-1950s
A weight made in England by W&T Avery a British manufacturer of weights and weighing machines. The company was founded in the early 18th century and took the name W & T Avery in 1818. The undocumented origin of the company goes back to 1730 when James Ford established the business in the town of Digbeth. On Joseph Balden, the then company’s owner’s death in 1813 William and Thomas Avery took over his scale making business and in 1818 renamed it W & T Avery. The business rapidly expanded and in 1885 they owned three factories: the Atlas Works in West Bromwich, the Mill Lane Works in Birmingham and the Moat Lane Works in Digbeth. In 1891 the business became a limited company with a board of directors and in 1894 the shares were quoted on the London Stock Exchange. In 1895 the company bought the legendary Soho Foundry in Smethwick, a former steam engine factory owned by James Watt & Co. In 1897 the move was complete and the steam engine business was gradually converted to pure manufacture of weighing machines. The turn of the century was marked by managing director William Hipkins who was determined to broadening the renown of the Avery brand and transforming the business into specialist manufacture of weighing machines. By 1914 the company occupied an area of 32,000m² and had some 3000 employees. In the inter-war period, the growth continued with the addition of specialized shops for cast parts, enamel paints and weighbridge assembly and the product range diversified into counting machines, testing machines, automatic packing machines and petrol pumps. During the second world war, the company also produced various types of heavy guns. At that time the site underwent severe damage from parachute mines and incendiary bombs. Then from 1931 to 1973, the company occupied the 18th-century Middlesex Sessions House in Clerkenwell as its headquarters. Changes in weighing machine technology after World War II led to the closure of the foundry, the introduction of electronic weighing with the simultaneous gradual disappearance of purely mechanical devices. The continued expansion was partly achieved through a series of acquisitions of other companies. After almost a century of national and international expansion, the company was taken over by GEC in 1979. Keith Hodgkinson, managing director at the time, completed the turn-around from mechanical to electronic weighing with a complete overhaul of the product range of retail sales of industrial platform scales. In 1993 GEC took over the Dutch-based company Berkel and the Avery-Berkel name was introduced. In 2000 the business was in turn acquired by the US-American company Weigh-Tronix, who already owned Salter, and is today operating as Avery Weigh-Tronix. An item used used by grocers and merchants to weigh store bought goods around the 1950s. This item gives an insight into social history of the time.Weight, brass, Stamped F27, 2lb.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, weight, brass weight -
Glen Eira City Council History and Heritage Collection
Document (Item) - Newspaper (digital), Caulfield Contact, 1978
The Caulfield Contact was the official newspaper of the City of Caulfield from 1976-1994. The City of Caulfield was the Municipal Council for an area of the South Eastern suburbs of Melbourne, including Brighton East, Carnegie, Caulfield, Elsternwick, Gardenvale, Glen Huntly, McKinnon, Murrumbeena, Ormond and St Kilda East. Following Amalgamation of City of Caulfield and parts of the City of Moorabbin in 1994, the Caulfield Contact was followed by the Glen Eira News. Contains References to the following Freedom of Entry to 3rd ordinance of the RAAOC, visit by Sir Zelman Cowen, Return to Rosstown, A 'spacy new home' (nursery at Caulfield Park), Profile on Gus Theobold, Meals on Wheels Aviary completed Caulfield Park. Profile resident Gus Theobold. Cr Irene Capek win Herald Australia Day essay prize. Caulfields Meals on Wheels set Victorian record. Historical feature Return to Rosstown. New ambulance station Glenhuntly and Clarinda roads opens. Volume 4 Number 5 Date 03 August 1978 Features Where and How to Vote in council election. Cr Irene Capek retires from council. Profiles election candidates. Image: Image Cr Irene Capek. Images of election candidates. Volume 5 Number 1 Date 14 September 1978 Freedom of Entry to 3rd ordinance of the RAAOC, visit by Sir Zelman Cowen, Subjects from Carol: GG Sir Zelman Cowen and Lady Cowen offical visit. Off street carpark project underway Pyne St and Hawthorn Rd. City Manager Graeme Caldwell submits plans for Townhall renovations. Action plan for development of Elsternwich Shopping precint to be developed. Freedom of Entry ceremony. Profile Rosemary Keppel. Booran Motors Glenhuntly donate dual control Holden Gemini to Caulfield Tech school pre-driver education program. council election results. Comments from elected Crs Jack Campell, Bob Baxter, Dorothy Ford, Brian Rudzki. Promotion of Caulfield Institute of Technology and TAFE. Image: Image Sir Zelman Cowen, Lady Cowen. Images Freedom of Entry ceremony and citizens attending. Image Rosemary Keppel. Cartoon pre-driver education program. Image Mayor Cr Geoff Patience in robes. Volume 5 Number 2 Date 26 October 1978 Rate rise 5.73% announced. Readership of Caulfield Contact surveyed. Caulfield ranger Reg Dixon and members of works dept rescue duck family from drain and reinstate them to Caulfield Racecourse dam. Profile resident and teacher Claire Manning. Image: Image of Reg Dixon and the rescued ducks. Image Claire Manning and students at Waverley Private school. city of caulfield, caulfield, glen eira, city of glen eira, caulfield contact, freedom of entry to 3rd ordinance of the raaoc, visit by sir zelman cowen, return to rosstown, a 'spacy new home' (nursery at caulfield park), profile on gus theobold, meals on wheels -
Flagstaff Hill Maritime Museum and Village
Equipment - Scale and weights, 1860-1900
The subject item was made in England by W&T Avery a British manufacturer of weights and weighing machines. The company was founded in the early 18th century and took the name W & T Avery in 1818. The undocumented origin of the company goes back to 1730 when James Ford established the business in the town of Digbeth. On Joseph Balden, the then company’s owner’s death in 1813 William and Thomas Avery took over his scale making business and in 1818 renamed it W & T Avery. The business rapidly expanded and in 1885 they owned three factories: the Atlas Works in West Bromwich, the Mill Lane Works in Birmingham and the Moat Lane Works in Digbeth. In 1891 the business became a limited company with a board of directors and in 1894 the shares were quoted on the London Stock Exchange. In 1895 the company bought the legendary Soho Foundry in Smethwick, a former steam engine factory owned by James Watt & Co. In 1897 the move was complete and the steam engine business was gradually converted to pure manufacture of weighing machines. The turn of the century was marked by managing director William Hipkins who was determined to broaden the renown of the Avery brand and transform the business into specialist manufacture of weighing machines. By 1914 the company occupied an area of 32,000m² and had some 3000 employees. In the inter-war period, the growth continued with the addition of specialized shops for cast parts, enamel paints and weighbridge assembly and the product range diversified into counting machines, testing machines, automatic packing machines and petrol pumps. During the second world war, the company also produced various types of heavy guns. At that time the site underwent severe damage from parachute mines and incendiary bombs. Then from 1931 to 1973, the company occupied the 18th-century Middlesex Sessions House in Clerkenwell as its headquarters. Changes in weighing machine technology after World War II led to the closure of the foundry, the introduction of electronic weighing with the simultaneous gradual disappearance of purely mechanical devices. The continued expansion was partly achieved through a series of acquisitions of other companies. After almost a century of national and international expansion, the company was taken over by GEC in 1979. Keith Hodgkinson, managing director at the time, completed the turn-around from mechanical to electronic weighing with a complete overhaul of the product range of retail sales of industrial platform scales. In 1993 GEC took over the Dutch-based company Berkel and the Avery-Berkel name was introduced. In 2000 the business was in turn acquired by the US-American company Weigh-Tronix, who already owned Salter, and is today operating as Avery Weigh-Tronix.An item used by grocers and merchants throughout the then British colonies of England to weigh store-bought goods around the mid to late 19th century. This item gives an insight into the daily lives of early colonial settlers and is a significant part of the era’s social history of the time.Balance scale and weights with removable dish, two round weights glued to tray 4oz and 8oz. Scales 'to weigh up to 28lb. Printed in gold on black labels each side "W & T AVERY LTD", "BIRMINGHAM" warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, scale and weights, food preparation equipment, w t avery ltd, balance scale, grocers scales, james ford, william & thomas avery, birmingham uk -
Melbourne Legacy
Article - Speech, Past President's Day Address - Brian Armstrong, 1961
An article from the Melbourne Legacy Bulletin of a Past Presidents' Day speech by Legatee Brian Armstrong, a long serving Legatee and past president (1937). It is poignant for it's insight into what he saw on the Western Front, in particular around Pozieres and the Windmill that had stood there and was destroyed in battle. He had recently visited France and recalled his personal feelings. “I have no doubt that each one of you had some special memory of war that is bound up with your membership of Legacy – some event, place or happening. This was one of mine – you will find the story in a book we all know ‘There goes a man’, a story of endurance, determination and incredible courage. The feeling came to me as I stood in that little enclosure that here began the long road that led to Legacy, for in the middle of that holocaust was the Victorian Brigade from which later came the first man of Legacy. I am certain that many splendid men, some of whom were my friends, whose last sight was that battered windmill, would, had the finger of fate but pointed another way, been original members of this Club. A question seemed to hang in the still air – not for me, for I was only a cypher, but for all of us for whom, in those or later years, the finger had pointed to ‘LIFE’ – what have you done to merit and repay your deliverance from this and similar ordeals." He was one of the founding group of Legatees, being enrolled in 1924, and served for 54 years. The Bulletin often published articles recounting the speech from the week before. John Henry Brian Armstrong was born 23 June 1894 and completed a law degree at Melbourne University. He served with the militia when at University and tried to enlist in December 1915. He was accepted into the Army Medical Corps in April 1916. He served in France and Belgium as a Lieutenant with 22 Infantry Battalion and was wounded near Dernacourt on 24th April 1918. He was wounded again and taken prisoner at Herleville, France on 18 August 1918 when leading a night patrol in an action in which the majority of the party were killed. For a number of years Brian was a Trustee of the Frances Ormond Estate, which was the genesis of The Royal Melbourne Institute of Technology (RMIT). Along with Legatee Jim Gillespie (and Jim's grandfather) the trustees were identified with all the notable developments of RMIT. He remained a bachelor his whole life. He was one of the initial archivists of Melbourne Legacy. One of his speeches in 1961 gives an insight into why he became a Legatee. (see 02501)A record a speech that contained insight into the life of Legatee Brian Armstrong.Copy of 2 pages from the Legacy Bulletin on a speech by Legatee Brian Armstrong in 1961.Bulletin 28/02/1961. Pages 5 to 6.vale, past presidents, brian armstrong -
The Beechworth Burke Museum
Photograph - Lantern Slide, c1900
This image shows six older Chinese men standing in a row with two younger non-Chinese men outside a small wooden business or official building in the Beechworth region, circa 1900. The two non-Chinese men are wearing clothes of the period that indicate relative prosperity (such as three piece suits, top hats, and a pocket handkerchief), whereas most of the Chinese men are wearing Western-style working clothes of the era. One Chinese man at the far right of the image is wearing similar garments to the non-Chinese men, including a bowler hat and longer, more tailored suit jacket. Chinese miners were a significant cultural group in Beechworth's gold rush period. Carole Woods' history of Beechworth, 'A Titan's Field', details that there were approximately 60 Chinese people in the area in 1855, more than 1000 in 1856 and 4700 (a quarter of the population) in 1857, despite the introduction in 1855 of official policies such as additional taxes formulated by the Victorian Government to limit access by Chinese immigrants. Most Chinese miners in the region came from southern China and had formerly worked as merchants, mechanics, farmers and shop-keepers. Chinese people were subjected to a 'protectorate' system, ostensibly to minimise the potential for conflict with other groups; this system required Chinese people to live in designated 'hygienic' camps with paid Chinese headmen who supervised the village and enforced the protectorate's rules. Chinese people were required to purchase an annual protection ticket to fund this system. The protectorate system was abolished in 1861, before this image was taken in approximately 1900, but it may still provide insight into social stratification or relationships between and within cultural groups in Beechworth resulting from such practices. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and Woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is significant because it provides insight into Beechworth's cultural and social relationships in the early Twentieth Century, in particular the experiences of Chinese miners. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a circular image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, magic lantern, indigo shire, north-east victoria, nineteenth century, 1900s, twentieth century, emulsion slides, chinese, chinese miners, protectorate system, protection licence, immigration, racism, classism, social groups, cultural groups, taxes, hygiene camps -
Flagstaff Hill Maritime Museum and Village
Container - Earthenware jar, Bailey & Co, circa 1878
The handmade earthenware jar was one of a group of artefacts in the McCulloch Collection that were recovered from the shipwreck Loch Ard. The jar could have been from the ship's cargo or personal effects. There are other jars in our collection that were recovered from the Loch Ard. The object is now one of the shipwreck artefacts in Flagstaff Hill’s Mc Culloch Collection, which includes items recovered from the wrecks of the Victoria Tower (wrecked in 1869) and Loch Ard (wrecked in 1878). They were salvaged by a diver in the early 1970s from the southwest coast of Victoria. Advanced marine technology had enabled divers to explore the depths of the ocean and gather its treasures before protective legislation was introduced by the Government. The artefacts were donated to Queensland’s Department of Environment and Heritage Protection (EHP) by a passionate shipwreck lover and their locations were verified by Bruce McCulloch. In 2017 the Department repatriated them to Flagstaff Hill where they joined our vast collection of artefacts from Victoria’s Shipwreck Coast. The Loch Ard: - The three-masted, square-rigged iron ship Loch Ard belonged to the famous Loch Line which sailed many ships from England to Australia. The ship was built in Glasgow in 1873. The Loch Ard made three trips to Australia and one trip to Calcutta before its final voyage. The Loch Ard left England on March 2, 1878, under the command of Captain Gibbs, bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo included straw hats, umbrellas, perfumes, clay pipes, pianos, clocks, confectionery, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that were intended for display in the 1880 Melbourne International Exhibition, including the famous Loch Ard Peacock. On June 1, 1878, Captain Gibbs was expecting to see land but visibility was reduced by fog. As it lifted, the sheer cliffs of Victoria's west coast came much closer than expected. The captain was unable to steer away and the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. The top deck was loosened from the hull, the masts and rigging came down and knocked passengers and crew overboard, and even the lifeboat crashed into the side of the ship and capsized. Of the 54 people on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael. The well-packed Minton porcelain peacock also survived, safe inside its crate. Much of the cargo was washed up, smashed and broken, and some was salvaged. Other cargo is still with the wreck at the base of Mutton Bird Island, now protected by Government law. The artefact is an example of cargo or personal items on board a ship in 1878. It provides a reference point for classifying and dating similar items. This artefact is significant for its association with the sailing ship Loch Ard, one of the best-known, and one of the worst, shipwrecks in Victoria’s history. Flagstaff Hill’s collection of artefacts from Loch Ard is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the Loch Ard. The Loch Ard collection is archaeologically significant as the remains of a large international passenger and cargo ship. It is historically significant for representing aspects of Victoria’s shipping history. Container, round brown earthenware jar with a wide mouth, thick lip, a wide neck that tapers slightly inwards towards the shoulder, and a body that tapers slightly inward towards the base. The glazed surface is rough. The variegated colours of the clay also has small dark speckles. There are several chips and dents on the jar. The inscription is stamped into the lower edge. Made by Bailey & Co., England. Recovered from the wreck of the Loch Ard.Inscription “Bailey [&] Co / ENGLAND” flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, white star line, victorian heritage register, sailing ship loch ard, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, migrant ship 1878, cargo ship 1878, stoneware jar, domestic container, kitchenware, kitchen storage, bailey & co england, shipwreck artefact, wreck dive, mcculloch collection, bruce mcculloch, 1878, sailing ship, earthenware, stoneware, domestic jar -
The Beechworth Burke Museum
Photograph - Lantern Slide, c1900
This lantern slide shows the Ovens District Hospital (also called the Ovens Goldfields Hospital) in Beechworth in approximately 1900. The Hospital was built as part of a community push to develop the infrastructure needed for a permanent town in the 1850s. At the time there was no hospital located between Melbourne and the NSW town of Goulburn and it was recognised that the nature of mining and agricultural work predisposed people to serious injury. The community voted in 1853 to raise funds for a hospital and a voluntary committee elected from people who contributed £2 or more annually determined the organisation's management policies, which aimed to provide care for poor people at rates levied according to the person's means. Ongoing operations of the hospital were primarily supported by Government grants, however. The foundation stone was laid at a site in Church Street at a ceremony held 1st September 1856 which was attended by 2000 people using a locally crafted trowel with a tin ore handle and pure gold blade. The hospital, which was designed by J.H. Dobbyn, cost £2347. The hospital had two wards, a dispensary, apartments for a resident surgeon and the matron, an operating theatre and a board room. Further medical facilities including services to meet the cultural and health needs of the local Chinese community were later added, in addition to a Palladian-style cut-granite face built in 1862-63. It functioned as the region's primary hospital until surpassed by the Wangaratta Hospital in 1910. In the 1940s much of the building materials were salvaged and repurposed, with the exception of the facade which was restored in 1963 by the Beechworth Lions Club and still stands today. The facade featured on the covers of local history volume 'Beechworth: a Titan's Field' by Carole Woods and heritage-focused travel guide the 'Readers Digest Book of Historic Australian Towns'. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is significant because it provides insight into Beechworth's built environment and infrastructure in the early Twentieth Century, around the time of Australia's Federation. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a round-edged square image printed on the front and framed in a black backing. It is held together by metal strips to secure the edges of the slide.Obverse: Y /burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, ovens district hospital, indigo shire, north-east victoria, hospital, palladian architecture, granite, community fundraising, community infrastructure, j.h. dobbyn, beechworth lions club, ovens goldfields hospital, chinese community -
The Beechworth Burke Museum
Photograph - Photograph - Reproduction, c.1870s
This photograph shows a piece of gold mining equipment identified as a mine winch, possibly an air winch cylinder of 1870s RG Ford's Patent design. Throughout the history of mining for gold and other precious materials, the windlass or winch (pictured) was used to bring up buckets full of soil from the bottom of a mine. This soil was then searched for gold/metals before being relocated to a different area. Due to the size and complexity of this particular piece of equipment, this winch may have been used to raise and lower mine carts to the entrance of the mine (often used in coal mining) and could have been used in raising cages up and down (acting as elevators) containing miners if the mine was particularly deep. The actual use of this particular item in the Beechworth locality is undocumented but these are some possibilities based on the use of these pieces of equipment in other mining locations. Mining can have a largely detrimental impact to the environment and therefore, the study of machinery like the one depicted in this photograph can help researches to reconstruct the methods and technologies used in the late 1800s and early 1900s. This particular item appears to have been removed from it's original site where it would have been used to assist with mining. It is possible that this photograph has been taken for recording purposes or as part of a machinery exhibition. Prior documentation records that this piece of equipment had connections to the Rocky Mountains Mining Company. Today, the Rocky Mountains Gold Mining company is famous in Beechworth for having been instrumental in the creation of the Rocky Mountain tunnel. Construction for this tunnel began in 1859 when a group of 12 men blasted a 400ft long tailrace though the rock beneath the town of Beechworth. Today, the 800ft tunnel, completed in 1871, is a popular tourist attraction but during the decades of gold mining, the purpose of this tunnel was to divert water away from the main sluicing operations so miners could better access gold and precious materials. The tunnel was used for this purpose for many years, later becoming useful for the Zwar Brother's tannery and currently as an outfall drain for Lake Sambell. This area continued to be mined until the early 1900s. The period when this item was in use is unclear but it is estimated to have been in the 1870s based on the design and appearance of the image. The gold works at the Rocky Mountain Tunnel closed in the early 1920s but the impact of mining remains in Beechworth today and therefore the study of photographs like this one which contain mining equipment can further understanding of mining in this region.This photograph has historic and research potential for study on the gold mining of the Beechworth region and types of equipment used to locate gold after the initial gold rush of 1853-1854 which resulted in the discovery of the surface gold and required miners to dig deeper to access precious metals. The clarity of the photo, and its good preserved condition, means it can continue to be used for research. This photo is part of a collection of six photos all within the Burke Museum Collection which depict mining equipment.Square black and white photograph on card.7793.1beechworth, mining, goldmining, goldmining equipment, beechworth burke museum -
Federation University Historical Collection
Book, University of Ballarat Research + Innovation Digest
Black, soft covered book of 48 pages outlining research at the University of Ballarat. Contents include: * Case studies in keeping food safe, Benu Adhikari * technologies that combat climate change - Alberto Boretti *Learning t lead- leading to learn, Neil Trivett * Depression, diabities and motivation, Mirella Di Benedetto * Valuing Lake Wendouree, Julian Lowe * What's in a name, Laura Kostanski * Optimizing Regional & International Research, John Yearwood * Sport, physical activity and health research, Warren Payne * Climate secrets in the sediments, Peter Gell * Injury prevention and saftey promotion research theme, UB Sports injury centre, Caroline Finch, Men's Sheds & other learning places, Barry Golding * New economy, new work, new qualifications, Erica Smith * Cross-cultural communication in a shrinking world, Georgina Tsolidis * Child Protection & family services reform, Angela Murphy * making a difference for older Victorians, Sally Wellard * Making good (and goodly) profits, jackie tuck * Not too much 'ordinary' about Teh Ordinry, Lorraine Sim * Gaming Machines & regional gamblers * Toe nail clippings revel their secrets, Kim Dowling * Magnificently preserved megafaunal trackways in the Victorian volcanic plans, Stephen Carey * A stuttering start for a stunning outcome, Grant Meridith * Supporting patients & their careres, Anthony Love * Out of Africa and beyond, James O'Meara * Taking a hard look to avoid hard knocks, Caroline Finch and Dara Twomey * Skilling people for business success, Andy Smith * Promoting risk awareness in industry, David Borys * researching China's Rise & Rise, Mike Willis *Sex hormones link to heart disease, Fadi Charchar * Human factors in computer security, Paul watters * Are our rivers up the creek, Peter Gell * Women as managers7 entrepreneurs, Glenice Wood * Revisoning values and norms, Jane Mummery * 'Wimmera" - an epic Poem, Homer Rieth * Recycling, consumerism, climate change and art peactice, marie Purtill * Investing in ecologically sustainable development, Jerry Coursisanos * Indigenous peoples of the goldfields, Fred Cahir * Artists install images of sustainability, Jill Orr * addresing disadvantage& inequality with passion, John Smyth * Breaking up insulin haxamers, Mark Myersaborigines, mens shed, wimmera, gambling, megafauna, gell, golding, carey, cahir, purtill -
Melbourne Tram Museum
Functional object - Tramcar component, Boselli Italy, Luminator Texas, Set of six destination indicator equipment that was fitted to Z, Z3 and B class trams, c1975 - 1990's?
Set of six destination indicator equipment that was fitted to Z, Z3 and B class trams. .1 - dot matrix type destination sign fitted to the side of a B class tram - set at Preston Depot - serial number 232636 - Luminator type, back cover loose, 180H x 1300W x 100D. See images 3704i1a to e. .2 - dot matrix type route number fitted to the front of a tram, type fitted to B2 class tram, set at 86D, serial number 273644 - Luminator type, marked "163 No", 240H x 350W x 135D. See images 3704i2a to d. .3 - flipper type, side destination type, marked "ex 53" (Z class tram), made in Italy by Boselli has yellow label 37/702S, serial number 40A1603, set to St Kilda Beach and stamped 136 on one flange. 120H x 330W x 165D. See images 3704i3a to c .4 - flipper type, destination box, with markings "B'Wick Flaps", with labels "New" "Universal A flaps" made in Italy by Boselli, serial number 40A6623, set to St Kilda Junc". 210H x 1000W x 1900. See images 3704i4a to d. .5 - flap from an above type box, half of "Richmond" and "South Melb Depot", 970W x 80H. See images 3704i5a to b .6 - controller box, marked "No. 105" on rear, serial number 202311 Luminator, numeric pad, illuminated display and five control buttons made by gulton Luminator division fitted to a B2 tram. See images 3704i6a to b .7 - dot matrix destination sign fitted to the front of a B2 class tram, set to "Not in Service", Serial number 502626 Luminator, 220H x 1300W x 165D, See images 3704i7a to e. Source of items 3 and 4 name based on drawings held by the Museum for the destination signs fitted to Z class trams. Refer to drawing R11-982 as an example. Luminator made by Luminator Technology Group Texas - see https://www.ltgglobal.com/ access 12/7/2019. Imagetrams, tramways, destination indicators, z3 class, transport equipment, z class, b class -
Flagstaff Hill Maritime Museum and Village
Gestetner Machine, c. 1922 - 1929
This Gestetner Cyclostyle duplicating machine was invented and manufactured by David Gestetner. He claimed in 1922, once he had released several models, that if a Gestetner Durotype stencil was used together with his Cyclostyle machine, then 10,000 copies could be made from the one Durotype stencil, an amazing claim for office technology of that era. David Gestetner (1854-1939), was born in Csoma, Hungary. He has been called the “founder of the worldwide office copying and duplicator industry.). He moved to London and in 1879 filed his first copying patent. In 1881 he patented the Cyclostyle stylus (or pen), which was used in conjunction with his Cyclograph device for copying text and images, He established the Gestetner Cyclograph Company in England at this time (1881) to protect his inventions and to produce his products; stencils, stylos (stylus or pen) and ink rollers. HIs inventions included nail-clipper and the ball-point pen (although the latter is more commonly associated with Laszlo Biro). Gestetner’s patented Cyclograph duplicator was used with his Cyclostyle Stylus or pen to write or draw on special thin wax-coated stencil paper (originally used for kite making paper) in the following way; 1. The Cyclostyle stencil was placed on a lower, framed metal plate of the Cyclograph 2. An upper frame was clipped over the top 3. The Cyclostyle pen, with its tip being a small metal-spiked or toothed wheel, was used to write or draw on the stencil, punched small holes into the paper and removed the wax coating in those places 4. The upper frame and stencil was then removed and a piece of blank paper was placed onto the metal plate in the lower frame and the upper frame with stencil was replaced 5. A roller was given an even distribution of Cyclostyle ink and rolled by hand over the stencil in the frame. This forced the ink through the holes in the stencil to and made a copy of the stencil on the paper 6. The upper frame was raised, the printed paper removed and another blank sheet was put into place. The whole process was repeated until enough copies were made. Gestetner’s invention developed further in 1894, with a stencil that could be placed on a screen on a revolving drum. The drum was manually rotated, the stencil then wrapped around another drum and was fed between cloth-covered rollers on which ink was evenly spread. Each revolution of the drum forced ink through the holes in the stencil and transferred the ink onto paper that had been fed between rollers and pressed against the drum. The process was repeated for each page. The paper was still fed and removed manually in this earlier invention but became more automatic in later models. In 1902 Gestetner duplicator model 6 was put onto the market. This model included the improvement of an automatic paper feed that synchronised with the rotation of the stencil. The Gestetner machine was the first office printing machine. It was easily installed and it made exact copies of the sane document quickly, effectively and inexpensively. This changed the way offices operated, making information easily available to many more users. The machines were commonly used in small businesses, schools, churches, clubs and other organisations for the wide distribution of a wide variety of information in the form of worksheets, newsletters and more. In 1906 the Gestetner Works were opened in Tottenham Hale, North London, and thousands of people were employed there up until the 1970’s. Due to the fast growing success of the Gestetner Duplicator machines many international branches for sales and service centres were established. David Gestetner was succeeded by his son Sigmund, followed by his grandson’s David and Jonathan. Further advancement was made by using a manual typewriter with specifically designed stencils. The end product was a printed, typewritten copy similar to the print from newspapers and booklets. In the next few years there were further developments of this revolutionary invention. The Gestetner Cyclostyle duplicator in our Collection is dated c.1922 - 1929 and it uses Gestetner Durotype stencils The 1922 British Industries Fair’s catalogue contained advertising for the Gestetner Rotary Cyclostyle “The World’s Premier Duplicator”, demonstrated at Stand K 86.” A Notice at the foot of the advertisement’s page boasts "Important - D Gestetner's latest invention, the "Durotype" Stencil, enables you to obtain 10,000 copies from one original if desired. It contains no wax of any description, is indestructible, can be stored indefinitely and printed from as required” In 1929 the look of the Gestetner machines changed; American designer Raymond Loewy was invited by Gestetner to improve the look of his duplicators, resulting in a very streamlined appearance. Eventually, around 1960’s, offices replaced their Gestetner with small photocopying machines and printers. Gestetner took over ownership of other office machine companies over time, including Nashua, Rex Rotary, Hanimex and Savin and eventually all came under the holding company name of NRG (Nashuatech, Rex Rotary and Gestetner). In 1996 Ricoh acquired the Gestetner Company, and it was renamed the NRG Group. REFERENCES Cyclostyle, Stencil Duplicating Machines, antique Copying Machines, Early Office Museum, http://www.officemuseum.com/copy_machines.htm Duplicating machines, Wikipedia Duplicator, Collection online, Canada Science and Technology Museums Corporation http://techno-science.ca/en/collection-research/collection-item.php?id=1989.0229.001 Gestetner duplicators, Totterham-Summerhillroad.com http://tottenham-summerhillroad.com/gestetner_duplicators_tottenham.htm Gestetner Duplicator, V&A Museum http://collections.vam.ac.uk/item/O322014/gestetner-duplicator-duplicator-loewy-raymond-fernand/ Gestetner, Grace’s Guide to British Industrial History, http://www.gracesguide.co.uk/Gestetner Duplicating machines such as this one revolutionalised access to copies of printed material, changing the way that educational bodies, offices, small businesses and community clubs and charities operated.Duplicating machine, Gestetner Cyclostyle Durotype, a stencil-method duplicating machine with two rotating drums plus rollers. Hand operated, tabletop office machine. Front has folding Bakelite handle, oil filling hole, calibrating gauge with scale, and copy counting meter. Right side has printed manufacturer’s plate that slides out as a paper output tray. Left side has metal plate with protrusions and perforations, plus another similar plate that is detached. It also has a metal frame attached [that would have been used to hold a paper input board, adjusted for various sizes of paper]. Cover, metal, with folding wooden handle on top, attaches to base with metal clips. Inscriptions printed on machine, mostly in gold-coloured paint. Round metal manufacturing plate is stamped with Serial Number 95759. Made by D. Gestetner, London, c.1922-1929Maker’s plate “MANUFACTURED / BY / D. GESTETNER LTD, / No. 95759 / CYCLOSTYLE WORKS / TOTTENHAM HALE / LONDON, N” Copy counting meter shows “1 4 6 4 8 [space]“ copies. Calibrating gauge has divisions with numbers “0 1 2“, labelled “← [left arrow] “TO PRINT LOWER” and “→ [right arrow], TO PRINT HIGHER”. “The Gestetner”, “Cyclostyle”, “Gestetner” (Trade Mark), Right side print of manufacturing details includes “The / Gestetner / TRADE MARK” And “THE FOLLOWING TRAFE MARKS / - - - OF INK, STENCILS / - - - AND GUARANTEE OF PERFECT / - - - BOTH - - - AND MACHINE” and “CYCLOSTYLE / DUROTYPE / GESTETNER” and “D. Gestetner” flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, office machine, copying machine, gestetner machine, duplicating machine, duplicator, stencil machine, gestetner cyclograph company, cyclograph, cyclostyle, d. gestetner ltd, gestetner durotype stencils, gestetner cyclostyle, printing machine, office technology, durotype stencils, david gestetner, raymond loewy, roneo, rotary duplicatorten, mimeo, mimeograph machine, roneograph copier -
Victorian Aboriginal Corporation for Languages
Periodical, Australian Institute of Aboriginal and Torres Strait Islander Studies, Australian Aboriginal studies : journal of the Australian Institute of Aboriginal and Torres Strait Islander Studies, 2009
Darkness and a little light: ?Race? and sport in Australia Colin Tatz (AIATSIS & Australian National University) and Daryl Adair (University of Technology Sydney) Despite ?the wonderful and chaotic universe of clashing colors, temperaments and emotions, of brave deeds against odds seemingly insuperable?, sport is mixed with ?mean and shameful acts of pure skullduggery?, villainy, cowardice, depravity, rapaciousness and malice. Thus wrote celebrated American novelist Paul Gallico on the eve of the Second World War (Gallico 1938 [1988]:9-10). An acute enough observation about society in general, his farewell to sports writing also captures the ?clashing colors? in Australian sport. In this ?land of the fair go?, we look at the malice of racism in the arenas where, as custom might have it, one would least want or expect to find it. The history of the connection between sport, race and society - the long past, the recent past and the social present - is commonly dark and ugly but some light and decency are just becoming visible. Coming to terms: ?Race?, ethnicity, identity and Aboriginality in sport Colin Tatz (AIATSIS & Australian National University) Notions of genetic superiority have led to some of the world?s greatest human calamities. Just as social scientists thought that racial anthropology and biology had ended with the cataclysm of the Second World War, so some influential researchers and sports commentators have rekindled the pre-war debate about the muscular merits of ?races? in a new discipline that Nyborg (1994) calls the ?science of physicology?. The more recent realm of racial ?athletic genes?, especially within socially constructed black athletic communities, may intend no malice but this search for the keys to their success may well revive the old, discredited discourses. This critical commentary shows what can happen when some population geneticists and sports writers ignore history and when medical, biological and sporting doctrines deriving from ?race? are dislocated from any historical, geographic, cultural and social contexts. Understanding discourses about race, racism, ethnicity, otherness, identity and Aboriginality are essential if sense, or nonsense, is to be made of genetic/racial ?explanations? of sporting excellence. Between the two major wars boxing was, disproportionately, a Jewish sport; Kenyans and Ethiopians now ?own? middle- and long-distance running and Jamaicans the shorter events; South Koreans dominate women?s professional golf. This essay explores the various explanations put forward for such ?statistical domination?: genes, biochemistry, biomechanics, history, culture, social dynamics, the search for identity, alienation, need, chance, circumstances, and personal bent or aptitude. Traditional games of a timeless land: Play cultures in Aboriginal and Torres Strait Islander communities Ken Edwards (University of Southern Queensland) Sports history in Australia has focused almost entirely on modern, Eurocentric sports and has therefore largely ignored the multitude of unique pre- European games that are, or once were, played. The area of traditional games, especially those of Aboriginal and Torres Strait Islander peoples, is an important aspect of the cultural, social and historical experiences of Indigenous communities. These activities include customs of play that are normally not associated with European notions of competitive sport. Overall, this paper surveys research undertaken into traditional games among Indigenous Australians, as well as proposals for much needed further study in this area. Culture, ?race? and discrimination in the 1868 Aboriginal cricket tour of England David Sampson As a consequence of John Mulvaney?s important historical research, the Aboriginal cricket and performance tour of Britain in 1868 has in recent decades become established as perhaps the most famous of all public events in contact history involving Aborigines, white settlers and the British metropolis. Although recognition of its importance is welcome and significant, public commemorations of the tour have enveloped the tour in mythologies of cricket and nation. Such mythologies have obscured fundamental aspects of the tour that were inescapable racial and colonial realities of the Victorian era. This reappraisal of the tour explores the centrality of racial ideology, racial science and racial power imbalances that enabled, created and shaped the tour. By exploring beyond cricketing mythology, it restores the central importance of the spectacular performances of Aboriginal skills without which the tour would have been impossible. Such a reappraisal seeks to fully recognise the often trivialised non-cricketing expertise of all of the Aboriginal performers in 1868 for their achievement of pioneering their unique culture, skills and technologies to a mass international audience. Football, ?race? and resistance: The Darwin Football League, 1926?29 Matthew Stephen (Northern Territory Archive Service) Darwin was a diverse but deeply divided society in the early twentieth century. The Commonwealth Government introduced the Aboriginals Ordinance 1911 in the Northern Territory, instituting state surveillance, control and a racially segregated hierarchy of whites foremost, then Asians, ?Coloureds? (Aborigines and others of mixed descent) and, lastly, the so-called ?full-blood? Aborigines. Sport was important in scaffolding this stratification. Whites believed that sport was their private domain and strictly controlled non-white participation. Australian Rules football, established in Darwin from 1916, was the first sport in which ?Coloured? sportsmen challenged this domination. Football became a battleground for recognition, rights and identity for all groups. The ?Coloured? community embraced its team, Vesteys, which dominated the Northern Territory Football League (NTFL) in the 1920s. In 1926, amidst growing racial tension, the white-administered NTFL changed its constitution to exclude non-white players. In reaction, ?Coloured? and Chinese footballers formed their own competition - the Darwin Football League (DFL). The saga of that colour bar is an important chapter in Australia?s football history, yet it has faded from Darwin?s social memory and is almost unknown among historians. That picture - Nicky Winmar and the history of an image Matthew Klugman (Victoria University) and Gary Osmond (The University of Queensland) In April 1993 Australian Rules footballer Nicky Winmar responded to on-field racist abuse by lifting his jersey and pointing to his chest. The photographic image of that event is now famous as a response to racial abuse and has come to be seen as starting a movement against racism in football. The racial connotations in the image might seem a foregone conclusion: the power, appeal and dominant meaning of the photograph might appear to be self-evident. But neither the fame of the image nor its racial connotation was automatic. Through interviews with the photographers and analysis of the use of the image in the media, we explore how that picture came to be of such symbolic importance, and how it has remained something to be re-shown and emulated. Rather than analyse the image as a photograph or work of art, we uncover some of its early history and explore the debates that continue to swirl around its purpose and meaning. We also draw attention to the way the careful study of photographs might enhance the study of sport, race and racism. ?She?s not one of us?: Cathy Freeman and the place of Aboriginal people in Australian national culture Toni Bruce (University of Waikato) and Emma Wensing (Independent scholar) The Sydney 2000 Olympic Games generated a national media celebration of Aboriginal 400 metre runner Cathy Freeman. The construction of Freeman as the symbol of national reconciliation was evident in print and on television, the Internet and radio. In contrast to this celebration of Freeman, the letters to the editor sections of 11 major newspapers became sites for competing claims over what constitutes Australian identity and the place of Aboriginal people in national culture. We analyse this under-explored medium of opinion and discuss how the deep feelings evident in these letters, and the often vitriolic responses to them, illustrate some of the enduring racial tensions in Australian society. Sport, physical activity and urban Indigenous young people Alison Nelson (The University of Queensland) This paper challenges some of the commonly held assumptions and ?knowledges? about Indigenous young people and their engagement in physical activity. These include their ?natural? ability, and the use of sport as a panacea for health, education and behavioural issues. Data is presented from qualitative research undertaken with a group of 14 urban Indigenous young people with a view to ?speaking back? to these commentaries. This research draws on Critical Race Theory in order to make visible the taken-for-granted assumptions about Indigenous Australians made by the dominant white, Western culture. Multiple, shifting and complex identities were expressed in the young people?s articulation of the place and meaning of sport and physical activity in their lives. They both engaged in, and resisted, dominant Western discourses regarding representations of Indigenous people in sport. The paper gives voice to these young people in an attempt to disrupt and subvert hegemonic discourses. An unwanted corroboree: The politics of the New South Wales Aboriginal Rugby League Knockout Heidi Norman (University of Technology Sydney) The annual New South Wales Aboriginal Rugby League Knockout is so much more than a sporting event. Involving a high level of organisation, it is both a social and cultural coming together of diverse communities for a social and cultural experience considered ?bigger than Christmas?. As if the planning and logistics were not difficult enough, the rotating-venue Knockout has been beset, especially since the late 1980s and 1990s, by layers of opposition and open hostility based on ?race?: from country town newspapers, local town and shire councils, local business houses and, inevitably, the local police. A few towns have welcomed the event, seeing economic advantage and community good will for all. Commonly, the Aboriginal ?influx? of visitors and players - people perceived as ?strangers?, ?outsiders?, ?non-taxpayers? - provoked public fear about crime waves, violence and physical safety, requiring heavy policing. Without exception, these racist expectations were shown to be totally unfounded. Research report: Recent advances in digital audio recorder technology provide considerable advantages in terms of cost and portability for language workers.b&w photographs, colour photographs, tablessport and race, racism, cathy freeman, nicky winmar, rugby league, afl, athletics, cricket, digital audio recorders