Diggers and miners. Diggers and Miners. . . . But the digger worked for himself - individually, or (more usually) as a member of a party who shared the proceeds of their work. Markings: 9 994.5 WAL. Used as a teaching aid.hanimounteducation, tertiary, goldfields

Coloured slide transparency. Image is of a male and a female standing in front of a bench wearing white lab coats. He is holding a glass beaker containing a dark liquid and pouring it into a white funnel into another glass beaker. The female has her back to camera with her left arm raised. She is holding something that is obscured. On the bench top are many glass beakers and bottles. The words Organic lab McCrae St Peter Ellis and Judith Daniel filtrations are handwritten along the bottom border.Kodachrome Transparencyslide, bendigo, bendigo institute of technology

This handmade women’s camisole features hand-worked lace yoke and trim and a drawstring peplum waist. It is one of seven handmade items of white cotton underwear, all made with beautiful needlework and embroidery skill. The lingerie once belonged to the donor’s great-grandmother’s family, the Paton family of ‘Trefnant’, Yangery, in southwest Victoria. The collection of women’s late-19th-century undergarments is an example of clothing that women would include in their wardrobes. The garments add to the study of the evolution of women's fashions and practicality for the early Australian settlers. The fine linen fabric and the careful needlework in these handmade garments and hand-worked lace trims reflect the maker’s dedication to making even serviceable garments beautiful to look at and wear. Women's camisole, short sleeves and peplum waist. Handmade from white cotton fabric, with hand-worked lace sleeve tips, collar, waist trim and yoke. There are five buttons and two ties down the front.flagstaff hill maritime museum and village, maritime museum, maritime village, warrnambool, great ocean road, southwest victoria, victorian era, women’s underwear, ladies’ underwear, undergarment, under-structure, 1900s undergarments, 19th-century undergarment, women’s clothing, women’s fashion, lingerie, 19th century, handmade clothing, handmade lace, hand-worked lace, camisole, paton family, trefnant, yangery

Bench or table wooden dark brown large, slanted top, piece at front to stop objects falling, 4 turned legs-has support between legs & a long support underneath maybe #1881flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

Yellow yearbook with green image of three girls sitting on a bench seat. Green vertical writing reads GERONIMO down the left and text along the bottom reads Wangaratta Technical School Album 1988GERONIMO Wangaratta Technical School Album 1988

The first metal working machine used by David & James Thompson in 1878. Brought by ship by David Thompson who used it on the journey to make working models.The first machine used by David & James Thompson in their engineering section.Treadle lath for metal turning. Some brass accessories for metal working are laid out on a timber bench attached to the back of the lathe. Painted gunmetal grey and mounted on a black wooden platform for display purposes.Nonemachinery; tools; metalwork

The dredge 'Wombat' owned by John Carpenter, contractor for stage one of cutting the entrance from the lake through to ocean - Bass Strait. Photo shows channel partly dredged and men on work platform in front of dredge.Black and white photograph showing bucket dredge Wombat removing sand from between piers. Dunes on western side on left, lakes in background, hills of Kalimna and Nungurner in distance. Work platform in front of dredge with workers. Lakes Entrance Victoria waterways, public works, dredging

Gertrude Perry was born in California Gully in 1917. Her singing skills were recognized at an early age. She later sang with local choirs and sang on radio. She was involved with the Bendigo Operatic Society for many years. Gertrude began her working life in sales. After studying book keeping she worked at the Bendigo Ordnance Factory during WW2 and then worked for local solicitors and accountants. Gertrude was involved with many community and sporting organizations.Reg V. Brock of Bendigo three-part brochure for prints and framing. Studio at View Point P. O. Box 132, phone Bgo. 1888. Advertising and pricing brochure for photographic work and framing with beige light card with brown printing. Gertrude Perry Collection.Miss G. Perry on outer coverphysical culture class, fitness, exercise

Horace Stanley GIBSON No 1817 4th Div Sig Coy. KIA. Refer Reg No 34.2 for his service details & war diaries. These diaries were found under a house during a clean up..1) & .2) Both diaries relate to Horace Stanley GIBSON No 1817 AIF when he worked on the Vic Railways prior to the War. Entries are in pen & ink re details of work etc. diaries, gibson

The Display Board of Konts was handmade in Kings Lynn, Devon, England, by Tom Long DSM, who is a member of the International Guild of Knot Tyers. This display board shows the knots and joins used in ropework performed by a sailmaker and other skilled ropeworkers. It demonstrates the uses of some of the knots, such as for knobs and handles, suspending lengths of wood, reinforcing spliced rope and even for decorative work. The sailmakers travelling as part of the ship’s crew stored their tool kit in a canvas ditty bag. It contained needles, awls, a sailmaker’s leather palmed glove with a heavily reinforced palm - a shuttle to mend and make nets, fids, knives, mallets, brushes, rulers, and rope gauges. Sailmakers used their ropework and knot-making skills for various purposes and chose the type of rope fibre for its particular properties. For example, Italian hemp rope was preferred for the light line used in shore-to-ship rescues because it was lightweight, not easily knotted, and absorbed less water. A supply of various types of rope was a commodity on board a ship and on land in the new colonies. It was flexible, easily stored, and could be worked to create an endless variety of objects on its own or with other materials like wood. An example is a simple rope ladder. Lengths could be combined to make various thicknesses and pieces could be skilfully joined together by splicing. The importance of knots in seafaring cannot be overestimated. When ships relied on only the wind for power and speed, there were a huge number of various ropes in use, particularly with regard to the sails and rigging. Seafarers would be judged on their ability to tie knots speedily and correctly. A mounted display of authentic seaman's knots is on a board covered in blue fabric. Various rope grades and fibres were used to work numerous knots and splices. Some of the uses are familiar, such as the toggle, the pineapple knot, and the Turk’s head. A selection of rope grades and fibres were used to work numerous knots and splices. Some of the uses are familiar, such as the toggle, the pineapple knot, and the Turk’s head. The name or purpose of the knot is on the label below it. Labels below each knot give its name or use.flagstaff hill, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, knot display, knot making, ropework, marine technology, sailmaker's work, sailor's knots, ship's rigging, seamen's knots, handmade, rope craft, knots, splices

Herbert Joseph Chambers was born in 1912 in Clifton Hill, Victoria. Later he was to live in Clark and Charles Streets in Northcote, in South Caulfield, and finally in Mentone. While he may have worked at the Kew Asylum before 1945, that year was when he was presented with a Certificate issued by the Department of Mental Hygiene (Victoria) declaring that he had completed training and passed the examinations required to work as a 'Mental Attendant’. The document is dated 19th December 1945 and signed by the Director of the Department and by the Co-Examiners. From at least 1945, he was to work as a member of the male staff of the Asylum, mainly in the Refractory Ward. A donor gifted to the Kew Historical Society in February 2019 a number of items collected by Herbert Chambers in his work at the Asylum. These include his Certificate of Registration, a photograph taken of him with two colleagues at Circular Quay in Sydney, a notebook containing ‘SP’ betting records of male asylum staff, and five sketchbooks with artwork created by Kenn’th [sic] Bailey, a patient of the Asylum. Herbert Chambers’ period of employment at the Kew Asylum coincided with the employment of the English psychiatrist Dr Eric Cunningham Dax (1908-2008) as Chairman of the Mental Hygiene Authority in 1952. Dr Dax introduced an art therapy program into Victorian psychiatric hospitals, including Kew, where it is likely that the five sketchbooks were created. The sketchbooks are believed to have been presented to Chambers by Bailey as a “gift for looking after him”. Herbert Chambers retired from the Kew Asylum in c.1970 after working there for almost thirty years.Representative example of certification required to work as a Mental Attendant in Victoria.Certificate issued by the Department of Mental Hygiene (Victoria) declaring that Herbert Joseph Chambers has completed training and passed examinations required to work as a 'Mental Attendant. The document, dated 19th December 1945 is signed by the Director of the Department and by the Co-Examiners.Department of Mental Hygiene Victoria This is to certify that HERBERT JOSEPH CHAMBERS is a trained MEDICAL ATTENDANT having completed the period of Training and passed the Examinations, prescribed by the Regulations of The Department of Mental Hygiene, in Elementary Anatomy and Physiology, First Aid, General Medical and Special Mental Hygiene. 19TH DECEMBER, 1945 Signed by the Director of Mental Hygiene and two Co-Examinersherbert joseph chambers, kew mental hospital, department of mental hygeine - victoria

Eltham Council (now the Shire of Nillumbik) commissioned this work in 1989 to create an entrance / gateway to Edendale Community Farm. It was also aided by a grant from the Ministry of the Arts (now Arts Victoria). The former name of this work was "Gateway to Edendale Farm". Edendale Farm is a demonstration farm modelling sustainable environmental practices, providing support to the local residents of Nillumbik. Established in 1986, the land was purchased in 1970. It was previously an English gentleman's residence and was used for grazing. It consists of 5.6 hectares, with the Diamond Creek meandering through the property. The Victorian Fences Act 1968 governs liability of occupiers of adjoining lands to fence, and deals with disputes between neighbours regarding boundaries fences and costs. This work took into consideration ideas and suggestions from residents and committees, who required the use of recycled materials and that the work celebrate man's relationship with nature, animals and the earth, as well as relate to the fence-line on the far side of the carpark. Trembath also absorbed significant aspects of local history, making references to Eltham's agricultural past, the clearing of the land, the destruction of trees, the ruthless pruning of trees by suburban Councils and incorporated such Australian features as the post and rail fence. 'The Fences Act 1968' is significant for aesthetic, historic and social reasons at a regional level. It makes prominent the historical and social significance of Edendale and the rural aspects of Nillumbik. The use of existing tree stumps and salt pots in the work explores the iconography of the countryside such as the isolated farmhouse, pioneering farming practices, post and rail fencing and the regrowth of lopped trees. The title of the work, as well as the extensive community involvement in its creation, also makes reference to the Victorian Fences Act 1968, which makes neighbours jointly responsible for the cost of construction and maintenance of fences in the partitioning of land for settlement. 'The Fences Act 1968' has been classified as of regional significance by the National Trust of Australia. The work is an installation of wood and metal, approximately twenty five meters long. The design is very informal and rustic and runs the full width of the fence-line. It comprises groups of recycled tree trunks fitted with metal caps (chrome-nickel 'salt pots' that are shaped like tall bowler / top hats). Metal rods protrude from the trunks and some of these rods have metal birds. Two larger, sentinel-like stumps at the two outer ends have metal flame-like wings, which bend inward. To the left of the entrance, a simple architectural element indicates an isolated farmhouse. The rustic fence runs between the groups of tree trunks with native planting in clumps along it. The fence-line incorporates a functional engineered double gate and post and rail fencing. There may be many interpretations of the work and the intention is to stimulate interest and imagination rather than alienate. Interpretation is based on the personal experience that a visitor brings. The artist recommended that no explanation of the design logic be positioned with the work. N/Apublic art, sculpture, edendale, recycled, wood, metal, fences act 1968, gate, trembath, salt pot, tree stumps

This issue of 'Architect' is a tribute to Robin Boyd's life and work following his death on 16 October 1971.Soft Cover MagazineInscription inside front cover from Neil Clerehan - "Patricia: This is the first copy off the press. Many errors. Bad register on colour pages etc etc etc but it's here. for you. from Neil, Dec 10 '71". Retrospective of Robin Boyd's life and work.robin boyd, architecture, australian architecture, walsh st library

Norman Keith HOFMAIER (12.08.1951- ) Born Beulah, Wimmera, Victoria Norman Hofmaier was a scion of a well-known family, he completed his secondary education at Hopetoun High School and Ballarat College. Later he studied Visual Art at University of Ballarat, including painting, design and sculpture. Hofmaier’s childhood in Beulah was spent on the family property running beside the Yarriambiack Creek. Both he and his father had an intimate knowledge of the flora and fauna of the Mallee. The Wyperfeld National Park, home to the Big Desert, was a favourite place for Norman’s uncle who planted acres of native trees at the family property. Dr Di Bresciani explains: “The colours and vastness of the Mallee are represented in many works which reflect, variously, the relentless quiet and swirling energies found in the ‘dust storm might’ of the Mallee area. Most works may be described as abstract, lyrical abstract or abstract expressionist." From the 1970s until the 1990s he began an outpouring of work, using oil-based paints overlaid manually on large, specially-prepared boards using brushes, cloths, sponges, sprays or rollers. Petrol solvents were used to soften, blur and enhance shapes and edges. His work reflected his exploration of his inner state, sometimes flowing and placid, sometimes tempestuous. After a brief sojourn into city-life Norman returned to working in the country, until finally submitting to mental illness and permanent care in the mid 1990s. Norman Hofmaier's works are represented in major collections including that of the well- known artist Mitch Pearson ( an important influence and lifelong friend). The work 'Pastel of a Nude' was shown in a widely distributed magazine and two works owned by Mark Shannon were planned to be published as record covers in 1993. He won an award during the bicentennial recognising his skill as a Wimmera artist. From the 1970s until the 1990s he began an outpouring of work, using oil-based paints overlaid manually on large, specially-prepared boards using brushes, cloths, sponges, sprays or rollers. Petrol solvents were used to soften, blur and enhance shapes and edges. This work was purchased from the exhibition 'Norman Hofmaier: Mallee Mysteries' at the Lost Ones Gallery in Camp Street, Ballarat. The exhibition explored the legacy of Hofmaier’s work as well as raising money for the Ballarat Art Foundation. The Hofmaier family donated 16 works of the artist to be sold to raise funds for the foundation, to support emerging artists.Original painting in square format, featuring abstract swirls of blue, white, red, yellow and green.On back of work: 1. pools of diluted oil paint covering approximately 8 cm from each edge, 2. in right hand corner in permanent marker "N Hofmaier" 3. middle right hand side, torn exhibition label, with the words, "Belauh", "Local Art", "Prome", "Local Art", "$350", "Collect A", "oin" 4. Bottom right corner, two exhibition labels on card. Cards read: The flowing of movement before any known bodies are formed. Matter and gases bubble forming kaleidoscopic colours and shapes. Promethius 1 Oil based pigment with petrol on prepared board 1320 x 1210 mm On front of work, bottom right hand corner, in white lettering, N Hofmaier. Bottom right hand olive green frame damaged on front of work.painter, mallee, beluah, norman hofmaier, wimmera, abstract, alumni

A hacksaw is a fine-toothed saw, originally and principally for cutting metal. They can also cut various other materials, such as plastic and wood; for example, plumbers and electricians often cut plastic pipe and plastic conduit with them. On hacksaws, as with most frame saws, the blade can be mounted with the teeth facing toward or away from the handle, resulting in cutting action on either the push or pull stroke. In normal use, cutting vertically downwards with work held in a bench vice, hacksaw blades should be set to be facing forwards. A steel hacksaw with a wooden handle but without blade

Photograph showing 4 inspectors with vehicle checking work progress on the G.O.Rg.o.r.; inspectors; vehicle;

Newspaper clipping - unknown dateArticle on tide damage to Penguin beach at Phillip Island and restoration workphillip island, penguin beach, tidal damage

Photo shows men & machines on construction work for road to Mt Williamaccess routes, roads, access routes, mt william road

This is one of a set of six photographs taken for the Victorian Railways Magazine, a pamphlet produced for Victorian Railways. t contains photographs and an article about Orbost as "Timber Country" and a detailed article titled, " Cutting Sleepers is a Family Business" which tells about the Donchi family The man in the photograph is Pat Donchi, a member of the Donchi family, who have been involved in the sleeper - cutting industry since the 1890s. This item is associated with the timber and sleeper-cutting industry in the Orbost Region. Timber sleepers were superceded by concrete sleepers in c. 1970s. Orbost has historically been based on the timber industry, but that industry has declined considerably over the last 20 years.The number of locals involved in the timber industry has declined and many of the mills have closed. This item reflects a time when that industry was a significant contributor to the economy of the district.A black / white photograph of a sleeper cutter at work swinging a broad axe.on back - Pr 8765timber-industry-orbost sleeper-cutting-orbost donchi-family

Used at the Ballarat Institute of Advanced Education Two Ballarat College of Advanced Education students work at an electron microscope.microscope, electron microscope, ballarat institute of advanced education

Ref: F.Hill C 015 2/4Small linen doily. Has drawn thread work in the centre of the doily.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, linen doily, linen, doily, drawn thread work