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Marysville & District Historical Society
Letter (Item) - Hand written letter, John William Lindt, 1903
A letter written to Maurice Keppel by John William Lindt in 1903.A letter written to Maurice Keppel by John William Lindt in 1903. John William Lindt was born in Germany in 1845. At 17 he took a working passage to Australia on a Dutch sailing ship. Taking up work as an itinerant piano-tuner, he traveled amongst towns in Victoria and New South Wales before settling in Grafton in 1863 where he became assistant and apprentice to photographer Conrad Wagner. After a brief return to Germany in 1867 Lindt took over management of Wagner’s studio in 1869. He married Wagner’s daughter, Anna on 13 January 1872. Over 1873-1874, using the slow and laborious wet-plate collodion process, John Lindt produced photographs of the local indigenous people both in their environment conducting actual traditional ceremonies in the Clarence River district, and in his studio. Twelve of this series is included in his 1874 album Australian Aboriginals. John Lindt moved to Melbourne in 1876 where he worked for Batchelder & Co. before opening his own opulent studios at number 7 at the top of Collins Street opposite the Treasury, in 1877. John Lindt's business of this period was wide-ranging, and included portraits, records of Melbourne public buildings and streetscapes, the Botanical Gardens, and Port Melbourne. He was a welcome photographer of members of parliament and other Melbourne personalities, their society and cultural life including the theatre, and was known as a ‘rich man’s photographer’ for those whose families he grouped informally on the lawns in front of their mansions, with servants at the rails of the upstairs balconies. He continued with landscape, producing folios Fernshaw and Watt River Scenery, Victoria ( c.1878-82), Scenery on the Ovens and Buckland Rivers, Victoria (c.1878–82) and Lorne, Louttit Bay and Cape Otway Ranges (1883). Sales of his Black Spur scenery amounted to approximately 25,000 copies printed from the original negatives between 1882 and 1892. John Lindt, in collaboration with Nicholas John Caire, produced a tourist booklet on the area around "The Hermitage" in 1913. Maurice Keppel, from Ireland, was one of the first landholders in the newly surveyed town of Marysville in 1864. He and his wife ran the successful Keppel’s Australian Hotel. Two of their sons, John and Jerry, established a farm and opened up the surrounding high country. The Keppel lease was one of the longest held in the high country and the Keppel Family were amongst Marysville's pioneering families.maurice keppel, keppel family, keppel's australian hotel, marysville, victoria, john william lindt, conrad wagner, australian aboriginals, batchelder & co, nicholas john caire, anna lindt -
Marysville & District Historical Society
Painting (Item) - Oil painting, William Beckwith McInnes, Near Marysville, Unknown
A copy of an oil painting titled "Near Marysville".A copy of an oil painting titled "Near Marysville" by W.B. McInnes. William Beckwith McInnes (1889–1939) was an Australian portrait painter, winner of the Archibald Prize seven times for his traditional style paintings. He was acting-director at the National Gallery of Victoria and an instructor in its art school. william beckwith mcinnes, archibald prize, marysville, victoria -
Flagstaff Hill Maritime Museum and Village
Accessory - Bag, Daisy Welsh, 1928
In the words of the Donor, Betty Stone, "This shopping bag is part of a set of two items. The items were designed, hand sewn and embroidered with raffia by my mother Daisy Elvena (nee Dale) Welsh. Daisy Elvena Dale (born 27 October 1899) daughter of Ellis and Ann (nee Lees) Dale, of Latrigg, Wangoom, Warrnambool, married Raymond Welsh in 1922. A few years later – approximately 1928- Daisy made these two articles, which she used, particularly during the Depression years. The important factor concerning these bags is that they were made with hand-woven cloth cut from a pair of trousers that her grandfather, William Dale brought with him when he left the family farm Back o-the Low situated in Saddleworth, Yorkshire, England. He arrived in Australia in 1852 and seven years later was operating a quarry on land purchased in Wangoom, Warrnambool known as The Dale Bluestone Quarries. Dale forebears in Yorkshire were first recorded as "clothiers" ( ie weavers of cloth) in the Saddleworth parish records dated 1764; following generations also continued the tradition of producing hand-woven cloth as a home industry. The cloth, from which these two bags were made, is evidence of a tradition begun by the Dale family in Saddleworth, Yorkshire more than two hundred and fifty years ago. My mother, Daisy Elvena (nee Dale) Welsh (granddaughter of William Dale) always referred to the cloth, which is at least 160 years old, as a homespun hopsack. (Note: For additional information please refer to Betty Stone’s book “Pioneers and Places - A History of three Warrnambool Pioneering Families” ie. Chamberlain, Dale and Lees Families)The homespun hopsack fabric for the set of bags was part of the clothing brought from England to Australia, an example of emigrant luggage. It also represents a traditional home industry of 'clothiers'. This item is associated with the families of Chamberlain, Dale and Lees. These families are listed in the "Pioneers' Register" for Warrnambool Township and Shire, 1835-1900, published by A.I.G.S. Warrnambool Branch.Embroidered shopping Bag, part of a set, the other part being a wallet (purse). Wooden handles and fabric is decorated with embroidered raffia flowers. The bags were made by Daisy Welsh (nee Dale) c. 1928 from homespun "hopsack' fabric of William Dale's trousers, brought to Australia in 1852. Part of the 'Chamberlain Dale Lees Collection' flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, chamberlain, dale, lees, stone, betty stone, warrnambool pioneers, clithier, william dale, daisy welsh, wangoom, hopsack, saddleworth, yorkshire, shopping bag, handbag, homespun, handmade -
Flagstaff Hill Maritime Museum and Village
Accessory - Wallet, Daisy Welsh, 1920s
In the words of the Donor, Betty Stone, "The wallet is one of a set of two items. They were designed, hand-sewn sewn and embroidered with raffia by my mother Daisy Elvena (nee Dale) Welsh. Daisy Elvena Dale (born 27 October 1899) daughter of Ellis and Ann (nee Lees) Dale, of Latrigg, Wangoom, Warrnambool, married Raymond Welsh in 1922. A few years later – approximately 1928- Daisy made these two articles, which she used, particularly during the Depression years. The important factor concerning these bags is that they were made with hand-woven cloth cut from a pair of trousers which her grandfather, William Dale brought with him when he left the family farm Back o-'the Low situated in Saddleworth, Yorkshire, England. He arrived in Australia in 1852 and seven years later was operating a quarry on land purchased in Wangoom, Warrnambool known as The Dale Bluestone Quarries. Dale forebears in Yorkshire were first recorded as "clothiers" ( ie weavers of cloth) in the Saddleworth parish records dated 1764; following generations also continued the tradition of producing hand woven cloth as a home industry. The cloth, from which these two bags were made, is evidence of a tradition begun by the Dale family in Saddleworth, Yorkshire more than two hundred and fifty years ago. My mother, Daisy Elvena (nee Dale) Welsh (granddaughter of William Dale) always referred to the cloth, which is at least 160 years old, as a homespun hopsack.The homespun hopsack fabric for the set of bags was part of the clothing brought from England to Australia, an example of emigrant luggage. It also represents a traditional home industry of 'clothiers'. This item is associated with the families of Chamberlain, Dale and Lees. These families are listed in the "Pioneers' Register" for Warrnambool Township and Shire, 1835-1900, published by A.I.G.S. Warrnambool Branch.Embroidered wallet (purse), rectangular, part of a set, the other part being a shopping bag Decorated with embroidered raffia flowers. The bags were made by Daisy Welsh (nee Dale) c. 1928 from homespun "hopsack' fabric of William Dale's trousers, brought to Australia in 1852. Part of the 'Chamberlain Dale Lees Collection' flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, chamberlain, dale, lees, stone, betty stone, warrnambool pioneers, clithier, william dale, daisy welsh, wangoom, hopsack, saddleworth, yorkshire, wallet, purse, hand woven, handmade -
Flagstaff Hill Maritime Museum and Village
Textile - Altar Cloth, 1986
This altar cloth is representative of ecclesiastical linen in use in the early to mid-20th century. It is decorated with the Mariner's Cross symbol, connecting it to the history of the early Christian church. The cover for the cloth shows the respect the maker had for the cloth and what it stands for. The Mariner's Cross symbol also makes it appropriate as an altar cloth for the St Nicholas Seamen's Church at Flagstaff Hill Maritime Village. Mariner’s Cross symbol and what it symbolises The symbol of an anchor that also looks like a cross is called the Mariner’s Cross (also called the Anchored Cross or Cross of Hope). It looks like a ‘plus’ sign with anchor flukes at the base and a ring at the top. The anchor is one of the earliest symbols used in Christianity and represents faith, hope and salvation in times of trial. The Mariner’s Cross is linked to the scripture in Hebrews 6:19, which says “Which hope we have as an anchor of the soul, both sure and steadfast, and which entereth into that within the veil”. This particular Mariner’s Cross also has the letter ‘X’ under the post of the anchor. In Greek, the language of the New Testament, the word for Christ is ‘Christos’, which begins with the Greek letter ‘X’ or ‘Chi’. Together, the elements on this Mariner’s Cross - anchor, cross and ‘X’ - symbolise to the Christian that Jesus Christ the Saviour gives security and safety, hope and salvation. Many church organisations still use various forms of the Mariner’s Cross. This design is also known as the Anchored Cross or Cross of Hope. The Missions to Seamen organisation The Missions to Seamen is an Anglican (Church of England) charity that has been serving the world's seafarers since 1856. It was inspired by the work of Rev. John Ashley who, 20 years earlier, had pioneered a ministry to seafarers in the Bristol Channel in Great Britain. When Ashley retired because of ill health, others determined that the work should continue, and they founded the Missions to Seamen. It adopted as its symbol a Flying Angel, inspired by a verse from Revelation 14 in the Bible. Today there are over 200 ports worldwide where the Missions to Seamen has centres and chaplains. A Missions to Seamen’s Club offers a warm welcome to sailors of all colours, creeds and races. A sailor can watch television, have a drink and a chat, change money or buy goods from the club shop or worship in the Chapel. In Victoria, the Missions to Seamen still has clubs in Melbourne, Portland and Geelong. The altar cloth is representative of the ecclesiastical linen in use in the early to mid-20th century, when the original St Nicholas Seamen's Church was opened in Williamstown, Victoria. The Mariner's Cross embroidered onto the altar cloth gives it a connection with the early Christian church and with the Missions to Seamen. The fine hand stitching and embroidery is an example of traditional handcraft skills used over the centuries and still continuing in use today.Altar cloth, white linen, with custom made white cotton cover. The long rectangular cloth has the symbol of a Mariner's Cross (anchor and cross) embroidered with white silk thread on each short end. The wide hems are hand stitched. The cover has two white tape ties and embroidered text in blue silk thread. On cloth: symbol of (anchor with an 'X' stitched behind the centre of it). On cover, text "FLAGSTAFF/ HILL" flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, religion, religious service, st nicholas seamen’s church flagstaff hill, altar cloth, church linen, ecclesiastical linen, mariner’s cross, anchor cross, cross of hope, symbol of christianity, anchored cross -
Flagstaff Hill Maritime Museum and Village
Tool - Draw Knife, Hale Bros. (John Thomas Hale and Samuel Stafford Hale), 1940s or earlier
This draw knife once belonged to a Sough Australian family of coopers, or barrel makers surnamed Schahinger. The maker was Hale Bros. of Sheffield. The brothers, John Thomas Hale (1853-1919) and Samuel Stafford Hale (1855-1948) owned the Moorfield Works. The firm's Corporate Mark of a horse's head was granted in 1842 and came with the statement that "All tools marked with a "Horse's Head" are Guaranteed". The firm made tools for edgers and joiners, wall drills, cold chisels, files and rasps, printers' and publishers' tools, butchers' and bread knives, and table cutlery. This draw knife was used by a cooper in South Australia for making wooden barrels in the traditional manner. The makers had a family business of making knives, cutlery and tools for trades people. This draw knife is relevant to the trades represented in a maritime village of the late 19th century. Draw knife; cooper's steel draw knife with bulbous wooden handles that have scored rings as decoration. The straight blade is 13 inches long. Inscription and logo of a horse's head on centre of blade. Made by Hale Bros of Sheffield. "HALE BROS / SHEFFIELD / - - - - " Image [Horse's Head]flagstaff hill, warrnambool, maritime-museum, coopers, draw knife, barrel maker, hale bros., sheffield, moorfield works, john thomas hale, samuel stafford hale, knife makers -
Flagstaff Hill Maritime Museum and Village
Machine - Dioptric Apparatus, mid 19th century
Before the introduction of electricity, lighthouses had a clockwork mechanism that caused the lens to rotate with a light source inside that was either powered by Kerosene or Colza oil. The mechanism consisted of a large weight attached by a cable through the centre of the lighthouse to the top where the cable wrapped around a barrel, drum or wheels that controlled the speed of the lights rotation by a clockwork mechanism. The keeper would crank the clockwork mechanism, which would lift the weight ready for the next cycle similar to an old grandfather clock mechanism. Once the weight lifted to its apex at the bottom of the first landing, the keeper would let it fall, which would pull on the cable, which would, in turn, operate a series of gears activating the rotation of the Fresnel optical lens, which would then rotate to create the lighthouse’s unique light speed of rotation characteristic. Creating a specific characteristic required a way to regulate the speed of the rotation, and was important as sailors could identify a particular light by its speed and time between flashes. The weight had to fall at a certain rate to create the proper rotation speed of the lens and a regulator within the mechanism accomplished this. History: From 1851, Chance Brothers became a major lighthouse engineering company, producing optical components, machinery, and other equipment for lighthouses around the world. James Timmins Chance pioneered placing lighthouse lamps inside a cage surrounded by Fresnel lenses to increase the available light output these cages, are known as optics and they revolutionised lighthouse design. Another important innovation from Chance Brothers was the introduction of rotating optics, allowing adjacent lighthouses to be distinguished from each other by the number of times per revolution the light flashes. The noted English physicist and engineer, John Hopkins invented this system while employed at Chance Brothers. Chance Brothers and Company was a glass works and originally based in Spon Lane, Smethwick, West Midlands England. The company became a leading glass manufacturer and a pioneer of British glass making technology. The Chance family originated in Bromsgrove as farmers and craftsmen before setting up a business in Smethwick near Birmingham in 1824. They took advantage of the skilled workers, canals and many other industrial advances taking place in the West Midlands at the time. Robert Lucas Chance (1782–1865), known as 'Lucas', bought the British Crown Glass Company's works in Spon Lane in 1824. The company specialised in making crown window glass, the company ran into difficulty and its survival was guaranteed in 1832 by investment from Chance's brother, William (1788 – 1856). William owned an iron factoring business in Great Charles Street, Birmingham. After a previous partnership that Lucas had dissolved in 1836, Lucas and William Chance became partners in the business which was renamed, Chance Brothers and Company. Chance Brothers invented many innovative processes and became known as the greatest glass manufacturer in Britain. In 1848 under the supervision of Georges Bontemps, a French glass maker from Choosy-le-Roi, a new plant was set up to manufacture crown and flint glass for lighthouse optics, telescopes and cameras. Bontemps agreed to share his processes that up to then had been secret with the Chance Brothers and stayed in England to collaborate with them for six years. In 1900 a baronetcy was created for James Timmins Chance (1814–1902), a grandson of William Chance, who had started the family business in 1771 with his brother Robert. Roberts grandson, James became head of Chance Brothers until his retirement in 1889 when the company became a public company and its name changed to Chance Brothers & Co. Ltd. Additional information: Lighthouses are equipped with unique light characteristic or flashing pattern that sailors can use to identify specific lighthouses during the night. Lighthouses can achieve distinctive light characteristics in a few different ways. A lighthouse can flash, which is when brief periods of light interrupt longer moments of darkness. The light can occult, which is when brief periods of darkness interrupt longer moments of light. The light can be fixed, which is when the light never goes dark. A lighthouse can use a combination of flashing, oscillating, or being fixed in a variety of combinations and intervals to create individual light characteristics. It is a common misconception that a lighthouse's light source changes the intensity to create a light characteristic. The light source remains constant and the rotating Fresnel lens creates the various changes in appearance. Some Fresnel lenses have "bulls-eye" panels create beams of light that, when rotated between the light and the observer, make the light appear to flash. Conversely, some lenses have metal panels that, when rotated between the light and the observer, make the light appear to go dark. This Dioptric clockwork apparatus used to turn a lighthouse optical lens is very significant as it is integral to a lighthouses operation, we can also look at the social aspect of lighthouses as being traditionally rich with symbolism and conceptual meanings. Lighthouses illustrate social concepts such as danger, risk, adversity, challenge and vigilance but they also offers guidance, salvation and safety. The glowing lamp reminds sailors that security and home are well within reach, they also symbolize the way forward and help in navigating our way through rough waters not just on the oceans of the world but in our personal lives be it financial, personal, business or spiritual in nature. Nothing else speaks of safety and security in the face of adversity and challenge quite the way a lighthouse does. Revolving dioptric clockwork apparatus used to turn a Fresnel optical lighthouse lens. A cylindrical cast metal pillar and cabinet painted green with 3 glass doors enclosing the top section. Inside the pillar/cabinet is a large clockwork mechanism used to turn and regulate a lighthouse light by means of weights and a chain attached to same. One door has the name "Adams Mare" in metallic dots similar to "Braille" to the inside edge of door frame.shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, flagstaff hill, maritime-museum, shipwreck-coast, warrnambool, flagstaff-hill-maritime-village, revolving dioptric mechanism, dioptric mechanism for lighthouse, lighthouse clockwork timing mechanism, acetylene lighthouse light mechanism, 19th century lighthouse mechanism, kerosene light, fresnel lenses, colza oil, chance brothers -
Australian Commando Association - Victoria
Booklet, Conferring of Freedom of Entry to City of Williamstown upon 2 Commando Company
The booklet gives the order of proceedings for the ceremony, on 1st March 1980, of the conferring of the Freedom of Entry to the City of Williamstown upon Second Commando Company, based at Fort Gellibrand, Williamstown.This was the first time the Commando Company had been formally recognised in a traditional ceremony by the city where it was based.12 page (white) rectangular A5 paper booklet, including cardboard cover.Coat of arms of the City of Williamstown on front cover and page 1. Title: "The Conferring of The Freedom of Entry to the City of Williamstown upon Second Commando Company Royal Australian Infantry."major robin mcbride-freedom of entry-city of williamstown-second commando company-fort gellibrand-mayor of williamstown -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Book, The Forgotten Arts John Seymour, 1994
A soft cover book grey/ light brown in colour with high gloss covers front and back. On the front cover there are 9 small paintings of men doing different crafts by hand. On the back cover are 11 small paintings of tools that are used in these trades or crafts.old crafts, workshops, textiles, traditional skills, practical guide, arts.woodwork. -
Women's Art Register
Book, Norma Broude, Mary D. Garrard, Feminism and Art History. Questioning the Litany, 1982
Seventeen essays covering every major art period from the ancient Egyptian to the 1970s presenting an alternative history of Western art history.Booknon-fictionSeventeen essays covering every major art period from the ancient Egyptian to the 1970s presenting an alternative history of Western art history.representation, the male gaze, portraiture, the nude -
Women's Art Register
Book, Jennifer Isaacs, Aboriginality. Contemporary Aboriginal Paintings & Prints, N/A
Overview of traditional and urban imagery with each chapter describing the creative philosophies and inspirations behind each artists' works including the spiritual and political. practiceBooknon-fictionOverview of traditional and urban imagery with each chapter describing the creative philosophies and inspirations behind each artists' works including the spiritual and political. practicefiona foley, gorden bennett, ellen jose, heather walker, raymond meeks -
Monbulk RSL Sub Branch
Book, John Parker, The Gurkhas: The inside story of the worlds most feared soldiers, 1999
The author has travelled in Nepal and met many Gurkhas to investigate the background to their traditional service to Britain and the threat that this is now under. He recounts famous battles when they collected VC's and earned admiration.Index, ill (b/w plates), maps, p.276.non-fictionThe author has travelled in Nepal and met many Gurkhas to investigate the background to their traditional service to Britain and the threat that this is now under. He recounts famous battles when they collected VC's and earned admiration.great britain - army - history, ghurkha soldiers -
Monbulk RSL Sub Branch
Book, Hardie Grant Books, War on our doorstep : diaries of Australians at the frontline in 1942, 2004
As the clock struck twelve to signal the start of 1942, Australians did not give the New Year their traditional noisy welcome. Regular events were cancelled, nightclub bookings were down and most people stayed in their blacked out homes. Clocks were put forward an hour for the start of daylight saving, as part of a war-time scheme to save power. All around the Pacific, Japan was making gains. They already occupied most of China; bombed Pearl Harbour, Guam and Wake; sunk the stars of the British naval fleet, the Prince of Wales and Repulse. They had landed in British Borneo, Hong Kong and the Philippines. This is the story of 1942, as told in first-hand accounts by the men and women in Australia and around the world.Ill, map, p.316.non-fictionAs the clock struck twelve to signal the start of 1942, Australians did not give the New Year their traditional noisy welcome. Regular events were cancelled, nightclub bookings were down and most people stayed in their blacked out homes. Clocks were put forward an hour for the start of daylight saving, as part of a war-time scheme to save power. All around the Pacific, Japan was making gains. They already occupied most of China; bombed Pearl Harbour, Guam and Wake; sunk the stars of the British naval fleet, the Prince of Wales and Repulse. They had landed in British Borneo, Hong Kong and the Philippines. This is the story of 1942, as told in first-hand accounts by the men and women in Australia and around the world. world war 1939-1945 - personal narratives - australia, soldiers - australia - diaries -
Monbulk RSL Sub Branch
Book, David Kilcullen, 978921372537, 2009
n The Accidental Guerrilla, Kilcullen takes us on the ground to uncover the face of modern warfare, illuminating both the global challenge (the "War on Terrorism") and small wars across the world: Afghanistan, Iraq, Indonesia, Thailand, East Timor, and Pakistan. He explains that today's conflicts are a complex hybrid of contrasting trends: local social networks and worldwide movements; traditional and postmodern culture; local insurgencies seeking autonomy and a broader terrorist campaign. He warns that the United States has tended to conflate these trends, blurring the distinction between local and global struggles and thereby enormously complicating our challenges. The West has continually misidentified insurgents with limited aims and legitimate grievances - "accidental guerrillas" - as members of a unified worldwide terror network. We must learn how to disentangle these strands, develop strategies that deal with global threats, avoid local conflicts where possible, and win them where necessary.Index, ill, p.346.non-fictionn The Accidental Guerrilla, Kilcullen takes us on the ground to uncover the face of modern warfare, illuminating both the global challenge (the "War on Terrorism") and small wars across the world: Afghanistan, Iraq, Indonesia, Thailand, East Timor, and Pakistan. He explains that today's conflicts are a complex hybrid of contrasting trends: local social networks and worldwide movements; traditional and postmodern culture; local insurgencies seeking autonomy and a broader terrorist campaign. He warns that the United States has tended to conflate these trends, blurring the distinction between local and global struggles and thereby enormously complicating our challenges. The West has continually misidentified insurgents with limited aims and legitimate grievances - "accidental guerrillas" - as members of a unified worldwide terror network. We must learn how to disentangle these strands, develop strategies that deal with global threats, avoid local conflicts where possible, and win them where necessary.guerrilla warfare, insurgencies -
Yarra City Council
Artwork, other - Mural, Fiona McMonagle, The Park, 2022
'The first panel celebrates the long history of runners that use the park. Richmond Harriers Athletics Club was established in 1913 and is the oldest athletics club in Victoria. The central panel depicts young female footballers and recognises female athletes and the popularity of women and girls' teams in contemporary sports. The final panel depicts a children’s cricket match. The young players are represented through the depiction of a game that is part of our national psyche and firmly entrenched in Australian culture.'Inner-city parks like Citizens Park have many diverse uses. They provide places to play, to exercise and to relax. They are spaces for community and are often subject to competing values and interests. The re-development of the Jack Dyer Pavilion at Citizens Park allows for the growth of the local community’s diverse interests and values and enables participation and interaction. 'The Park' focuses on the recreational uses of Citizens Park and its role as a community space in an area that is changing rapidly. The mural consists of three panels that address inclusivity and access to sport. Three core sporting groups who each utilize the pavilion and park as a public recreational space are represented: children, sport teams and runners. In fostering the representation of these groups, the panels also attest to the past, present, and future of this important space.Three sporting groups are represented: athletics/runners, women footballers in line formation and young cricketers in action/play. Accompanying plaquesport, women, community, richmond, parks -
Dutch Australian Heritage Centre Victoria
Comic Book - Billy Turf, Billy Turf 10
The Billy Turf series of stories is one of the few comic books originating in the UK instead of the area Belgium, The Netherlands and France.Comic Books are traditionally more popular in The Netherlands (and France and Belgium) than they are in Australia. There are in the Netherlands shops that only sell comic books. Most of these comic books originate from the area The Netherlands, Belgium and France.Soft-cover comic bookslightly worncomic book dutch uk migration -
Dutch Australian Heritage Centre Victoria
Footwear - Clogs, Company with markings V Z, where the V is located above the Z
Wooden shoes are / have been widely used in North-Western Europe (Scandinavia, parts of Germany, UK, The Netherlands, Belgium and Northern France). The models vary from a wooden sole and toe covering (Scandinavia, UK, Northern France) to a complete cover of the whole foot (The Netherlands and parts of Belgium). They are mostly made from poplar wood, but occasionally also from other softwoods like willow. The clogs' finish varies from plain wood or carved wood to varnished or painted versions, often with decorations. Nowadays special models are made for tourists with pictures of Dutch landscapes, tulips or windmills.Although wooden shoes are also used in other countries, the full foot covering model has become one of the symbols of the Netherlands, like the tulips and the old style houses in towns like Amsterdam.Pair of male size wooden clogs - completely covering feet, finished with clear varnish and shoe lace like decorations.Brand indication V Z clog and size 43/44 = 28 1/2cm - Shoe laces like decorations.wooden shoes holland dutch traditional clothing -
Dutch Australian Heritage Centre Victoria
Enamelled Potato Bucket (Aardappel Emmer), Early 20th century
The Dutch traditionally ate large quantities of potatoes. These would be peeled ahead of time by available labour (e.g., mother, children, visiting relatives) and kept under water till it was time to cook them. Vegetables were similarly prepared and kept under water to prevent browning before cooking.The bucket is green enamelled on the outside and grey enamelled on the inside. The metal carry handle is looped through metal loops protruding above the rim.Aardappelen (Potatoes) kitchen, diet, vegetables -
Dutch Australian Heritage Centre Victoria
Delft blue ashtray (asbakje in Delfts blauw)
Dutch were formerly heavy smokers, and many brought ashtrays as part of their luggage when they migrated.Delftware with its traditional is collected by both Dutch and touristsScalloped-edged shallow ashtray with three cigarette rests and a pair of tiny clogs on the edge. Upper edge decorated with blue arrows, three floral motifs inside bowl, rural scene with windmill on on bottom of bowl. On underside: superimposed with crown, handpainted in Delftsblauw, 119.ashtray; delftware -
Dutch Australian Heritage Centre Victoria
Ceramic Commemorative Plate (Keramiek Gedenkbord), 1923
Queen Wilhelmina celebrated her silver jubilee in 1923.Princess Wilhelmina was only 10 years old when her father (King Willem III) passed away in1890. Until she became of age 8 years later her mother, Queen Emma, ruled as Queen Regent. The Dutch are traditionally proud of their Royal Family and this is one of the commemorative items with which the country honoured the Queen's silver jubilee in 1923 Shaped as a soup plate the carved out bottom carries an image of Queen Wilhelmina and the inscription "1898-1923". A branch of oranges with a golden W placed in its centre partly encircles the image. The plate is edged with three green circles. "1898-1923". -
Dutch Australian Heritage Centre Victoria
Wall Tile (Tegel)
Tiles are formed using the using the same tools as four centuries ago, namely a knife and a wooden mould with little nails in the corners. Afterwards, the imprints of the nails remain visible as minute points in the glaze. After the first baking, the tile is glazed. The wet glaze is imprinted with a charcoal powder design. Then the painter redraws the lines with a fine paint brush and uses his own craftsmanship to color with paints that are in fact glazes colored by a metal oxide. The second baking blends these colors with the layer of tin glaze. The result is a unique and beautiful tile. Tile design, making and baking is a traditional Dutch craft and continues today. The province of Friesland has its own traditions in the field of which this tile is a sample.Off-white pottery tile with blue coloured proverb in the Frisian language. There are also some blue glaze decorations in the four corners. On the back the brand name Harlingen Holland forms part of an imprint. There is also a hook for hanging.The proverb reads: "Doch dyn plicht en lit de lju mar rabje." (Do your duty and just let people talk). -
Geoffrey Kaye Museum of Anaesthetic History
Model, Hand, Acupuncture
Rubber model of hand in sealed plastic bag which is original packaging. Hand is marked with acupuncture points on the palm and back of the hand. A leaflet is enclosed inside a plastic box with a white base and clear lid.acupuncture, chinese medicine, traditional medicine, pain relief, acupuncture, chinese medicine, traditional medicine, pain relief -
Royal Australasian College of Surgeons Museum and Archives
Decorative object - Japanese Hakata doll, Tomi Kono for Kyugetsu,Toyko
Hakata doll was given to RACS as a gift from the Japanese College of Surgeons. Made by Tomi Kono for Kyugetsu,Toyko. Kyugetsu is a famous doll store in the Asakusabashi district of Tokyo. This was founded in the Edo period and has been making dolls for 150 years.This elaborately costumed ceramic doll has its origins in simple clay figurines first produced in the Hakata district of the Japanese city of Fukuoka in the 17th century. They made their appearance in the West at the Exposition Universelie in Paris in 1900 by which time they had been transformed from toys into an artform. Most dolls are inspired by figures from the theatre: Noh, Kabuki and Ukiyo-e. These figures are sometimes connected with Geisha dolls although this is not necessarily a correct description. The robes and hairstyle are traditional but not confined to geisha.Hakata Doll dressed in elaborate kimono, in glass display case. Wooden plaque in cabinet with Japanese characters/script - presumably describes the doll. Doll has porcelain face, hands and feet, and a cloth body. This doll depicts a young unmarried woman dancing and holding an elaborate drum (tsuzumi).On plaque in cabinet: "Japanese College of Surgeons. Founded in 1974"hakata, diplomatic gift, japanese college of surgeons -
National Vietnam Veterans Museum (NVVM)
Book, Jackomos, Alick,Fowell, Derek, Forgotten Heroes: Aborigines At War From The Somme To Vietnam
Victorian aborigines distinguished themselves at war overseas and on the home front this century. Many of them came from a long tradition of warriors; their forebears waged war last century on the European settles who had occupied their traditional homelands.Victorian aborigines distinguished themselves at war overseas and on the home front this century. Many of them came from a long tradition of warriors; their forebears waged war last century on the European settles who had occupied their traditional homelands.aboriginal australians - biography, australia - armed forces - aboriginal australians - history -
Wangaratta RSL Sub Branch
Postcard, 1917
From the album of WWI soldier William West (1268) of the 29 Infantry Battalion, 5th Pioneers Battalion. This postcard, addressed to soldier William West, was written by his wife on behalf of their young daughter. The final line reads, 'When are you coming home Daddy dear?' This collection of postcards, photographs and clippings were sent between William and his family and loved ones during the years he was on active service. See also 207 and 220. Cheaper and more efficient than traditional letters, postcards were an enormously popular means of communication between families and those at the front. Postcard with white background and cut out of a green gum leaf"wishing you a speedy and safe return" "A gum leaf from Australia"album, photo album, newspaper clippings, postcard, wwi, remembrance, gum leaf, gumleaf, australia -
Tatura Irrigation & Wartime Camps Museum
Document, John E Wulff, Biography Hans E Wulff, 2019
Biography of Hans E Wulff, an internee Loveday SA and Tatura Victoria. 4 A4 sheets of typed information regarding Hans E WULFF, written by John WULFF.hans wulff, the traditional crafts of persia, biography, loveday internee, tatura internee -
Tatura Irrigation & Wartime Camps Museum
Clothing - Lederhosen, 1940s
Made by internee at Camp 3 for Rudolf Auer.Handmade mens shorts or lederhosen with straps or halter buttoned to waistband. 2 buttons on back are Australian Military Forces buttons.lederhosen, camp 3, rudolf auer, german traditional clothing -
Victorian Aboriginal Corporation for Languages
Book, Margaret Valadian, Aboriginal education, development or destruction : the issues and challenges that have to be recognised, 1992
B&w photographsaboriginal education, traditional education, cultural heritage -
Sunshine and District Historical Society Incorporated
Honour Board - PAST PRESIDENTS of the SUNSHINE and DISTRICT FRIENDLY SOCIETIES DISPENSARY
Friendly Societies originated in the industrial areas of the United Kingdom. The first society in Victoria was formed in 1839 and by 1913 more than half of the Victorian population was insured by Friendly Societies in some fashion. The societies were financed by Members' subscriptions and offered health benefits and other welfare services, before these services were provided by the government. Doctors were paid by the societies to treat members free of charge, and Dispensaries were established to provide members with subsidised quality medicines. The Sunshine and District Friendly Societies Dispensary was established on the 1st of March 1930 with a membership of 896, and it was located in Sun Crescent Sunshine. The membership grew to 1052 within 4.5 years, and the number of prescriptions dispensed in the 6 months prior to November 30,1935 totalled 10,535. The Dispenser was Mr. C. H. Semmens. Most Friendly Societies operated democratically with office bearers changed regularly to prevent power cliques. The Sunshine Dispensary appears to have operated in the same way as the societies that owned it. The Advocate of 10 July 1936 reports that the seven newly elected office bearers or delagates were from the Friendly Societies; A.N.A., M.U.I.O.O.F., P.A.F.S., and G.U.O.O.F. The names of all the seven people can be found on the Honour Board, indicating that they each have served at least one term as President of the Sunshine Dispensary. The health professions and the Labour Governments of the 1940's wanted to see the involvement of Friendly Societies in health care broken. The Commonwealth Free Medicine Plan appears to have been drawing customers away from Friendly Societies Dispensaries in general. The Sunshine Dispensary placed several advertisements in the Sunshine Advocate during late 1950 urging members to remain loyal to it. By the 1980's the increase in entrepreneurial clinics and the availability of take away medicine helped to vastly diminish the involvement of Friendly Societies in health care provision. The 1936 Sunshine Advocate refers to the Sunshine and District United Friendly Societies Dispensary, with the same office bearers as the Presidents on the Honour Board but on which the 'United' is missing from the name of the Dispensary. The 1950 advertisements were placed by Sunshine U.F.S. Dispensary of 23 Sun Crescent. It is thought that all three names refer to the same business, but the writer stands to be corrected. The above is a compilation of information sourced from Sunshine Advocates published in January and July 1936, and in September, October and November 1950. It also draws on an article written by Elizabeth Willis and published online by the the Department of History (University of Melbourne), and on an article written by Mr. Bill Kelly of the Australian Friendly Societies Pharmacies Association, and also on an article by Museum Victoria Australia. Corrections to what has been written are welcome from interested readers.The Honour Board provides a historical record of the Presidents that served 61 terms on the Board of the Sunshine and District Friendly Societies Dispensary. It also provides a reminder that when a government does not adequately look after the welfare needs of its citizens, the people can band together to find ways of helping each other. The Sunshine Dispensary no longer exists, and a more recently established Community Pharmacy which operated in Hampshire Road could not compete against the discount pharmacies that have taken over. These new pharmacies sell a wide range of profitable product lines, as well as dispensing traditional prescription medications.Brown stained wood particle board with picture frame type edging. The board has six straight sides however it is not typical hexagon shaped. The top is composed of three straight short edges to give an almost rounded edge to an otherwise oblong shaped bottom section. On the board in gold coloured lettering are the names of 'brothers' and 'sisters' who served a total of 61 terms as PRESIDENTS of the SUNSHINE AND DISTRICT FRIENDLY SOCIETIES DISPENSARY, which was established on the 1st of March 1930. Eight of the men served more than one term with BRO. I. MILLER serving four terms, and BRO. F. RICHER serving three. The three women SISTER. I. REWELL, SISTER. C. JOHNSON, and SISTER. M.S. ARMSTRONG served one term each. There is no indication of when each person served, but it is believed that the term length was around six months and that the list is in chronological order. This conclusion results from seeing that BRO. W. ROONEY is the 11th listed President, and that the Sunshine Advocate of 10 July 1936 states that he was elected as the new President.sunshine and district friendly societies dispensary, honour board, 1st march 1930, 1/3/1930, sunshine u.f.s. dispensary, semmens, rooney, miller, richer, armstrong, rewell, johnson -
Wangaratta Art Gallery
Textile, Treahna Hamm, Cormorant, 2011
The cormorant weaving was depicted through the traditional weaving method of the blanket stitch of the Yorta Yorta people. As birds are very significant and important in Aboriginal culture, the cormorant was created to represent the meaning of Wangaratta for the local people and wider community. The weaving is an extension of my series of works which represent wildlife along the waterways, particularly in the North East of Victoria and within my tribal homelands. In 2001 I was taught to weave at a weaving workshop held at Gas Works in Port Melbourne by old aunties from Victoria and South Australia which included Yvonne Koolmatrie. A body of my weaving works, which include turtles and spirits, is held at the National Gallery of Victoria. Other collections which hold my fibre weavings are the National Museum of Australia, Albury Museum and Wagga Wagga MuseumWangaratta Art Gallery CollectionA textile sculpture of a cormorant woven from natural and man made fibres.cormorant, treahna hamm, yorta yorta people, traditional weaving, weaving