Used by the Malvern city council until 1969 to drive a rock crushing plant. While large horizontal steam engines predominated in major factories, small vertical steam engines like this were the workhorses of industries that had modest power requirements. This reliable little engine, made by leading UK manufacturer Tangye Bros of Birmingham Steam engines had the advantage that any fuel could be used to fire their boilers, but they were less convenient and efficient than internal combustion engines, required operators with higher skill levels, and had lower power to weight ratios. Tangye Limited was founded in 1857 in Birmingham by businessman Richard Tangye (1833-1906) and his mechanic brothers James and Joseph; brothers Edward and George joined them later. Richard was born near Redruth in Cornwall and educated at the Friends School at Sidcot, Somerset, where he became a pupil-teacher. From there he moved to Birmingham to work as a clerk for an engineering firm. In 1856 he started a hardware factor and commission agent business in Birmingham whose customers were mainly Cornish mine-owners in the Redruth district. From 1858 Tangyes concentrated on the manufacture of machinery and secured the sole right to manufacture Weston's differential pulley block (object 2003/45/1). They established their Cornwall Works in the Birmingham suburb of Smethwick in 1864 and soon developed a huge range of products. It was stated that 'there are perhaps no other works in the kingdom so largely employed upon so great a variety of specialities as the Cornwall Works of Messrs Tangye Bros.' The Tangyes attracted creative people to work for them. They wrote: 'We are in a position to offer unusual facilities to Inventors for carrying out their patents.' Info about Tangye Bros of Birmingham from Powerhouse Museum https://ma.as/207954 Donated by Malvern City Council in 1969 Of Interest : The Vertical and Horizontal Tangye engines on display are of the design that won a Gold Medallion at the Paris Industrial Exhibition of 1878.Historic - Industrial Steam Engine Equipmentsingle cylinder vertical Steam Engine made of Cast Iron, (Painted)Tangye Birmingham Builder's number 2462tangye, vertical steam engine, steam engine, puffing billy, stone crushing, george and george, malvern

As a youth while working on his father's farm, Hugh Victor McKay became tired of the labour involved in winnowing wheat by hand. In 1884 he built the first machine in the world which did the winnowing in conjunction with the reaping. On Monday 21st August 1944, which coincided with the birthday of the late H. V. McKay, more than 2000 employees and friends of H. V. McKay Massey Harris Pty Ltd were entertained at the Melbourne Town Hall, in celebration of the Diamond Jubilee of the Sunshine Harvester Works.The event was planned to "turn it on for the boys' in a manner befitting the occasion." The compere was Eric Pearce (of later TV newsreader fame) and the entertainment was provided by leading performers of song (W.M.Laird and Mary Miller), of music (John Robertson, W.M.King, and the Sunshine Brass Band), and of humour (Charles Sherman). The accompanists for some of the performances were Betty Miller and Eric Fox. Two films depicting the activities of the Sunshine Works were shown, and the managing director Mr C. N. McKay, was presented with a book by Mr Fred Bult who had 50 years service with the company. The book contained more than 1000 signatures from invited employees who had completed more than 10 years of service, Supper was provided in the Lower Hall, and the MC for dancing to the Synco-Harvesters Dance Band in the Main Hall was James Patrick. The committee which organised the function were Messrs. L.W. King (Chairman), G. Baker, J. Downing, R. Stewart, F. J. Lee, V. Armstrong, F. Fields, J. Aird, G. Wilson, J. G. McKay, T. N. McArthur, and R. Webb, with secretaries Messrs. G. Shaw and D. J. McKay. The above information was compiled from the Souvenir Programme, and from The Argus of Tuesday 22 August 1944 which can be viewed at http://nla.gov.au/nla.news-article11357700, and from the Sunshine Advocate of Friday 30 June 1944.The Souvenir Programme provides a historical record of how the Diamond Jubilee was celebrated, as well as the type of entertainment and the names of the entertainers and other people involved. It also lists the types of dances such as the 'Fox Trot' and the 'Pride of Erin' that were normal entertainment in 1944. The Souvenir Programme is also significant in what it does not tell us. There is absolutely no indication of what would be considered to be a supper for an event like this in 1944, especially in the Melbourne Town Hall. From a historical point of view it would be interesting to know.Beige coloured cardboard document which is folded in two, and has brown coloured printing on three of the four sides. The document provides a detailed list of the entertainment and the presentations held in the Melbourne Town Hall, to celebrate the Diamond Jubilee of the Sunshine Harvester Works.1884 1944 / SOUVENIR PROGRAMME / DIAMOND JUBILEE of the SUNSHINE HARVESTER / MELBOURNE TOWN HALL / Monday 21st Aug.sunshine harvester, diamond jubilee, h. v. mckay, massey harris pty ltd, 21 august 1944, 1884, 1944, melbourne town hall, sunshine harvester works, sunshine harvester, diamond jubilee, h. v. mckay, massey harris pty ltd, 21 august 1944, 1884, 1944, melbourne town hall, sunshine harvester works

Jackie Kerin's (donor's) story. In 1973, I was in my late teens and while I’d moved to Sydney from Melbourne, to begin my first year of drama studies at the National Institute of Dramatic Art. My parents had moved to Lake Bunga, a few kilometers north of Lakes Entrance (Victoria). On my first holiday visit to Bunga, I called into the Jolly Jumbuck Country Craft Centre in Bairnsdale http://jumbukwool.com.au/history. I was entranced by the place and spent the following weeks learning to spin lumpy wool on an Ashford Wheel. By the end of the holidays, I had my own Ashford and it travelled with me back to Sydney. After graduation, I returned to Melbourne and the hippy “back to nature” movement was in full swing; there were many shops and galleries selling handmade woollen items and pottery etc. So I found an outlet for my pieces. Sometime in 1976-77, I met a spinner and weaver of Swiss origin (I think) – her name was Ingeborg Guber (not sure of the spelling). She had a small gallery/shop at Brighton Beach where she worked, with her pet duck for company. Ingeborg had an upright Philip Elford wheel; an Australian wheel crafted from Acacia melanoxylon (blackwood). I was smitten and ordered one. I have a memory of Philip driving to Hampton from Ballarat to make the delivery. I used this wheel for years but as time and enthusiasm for spinning waned, the wheel became a decorative item in the house. Then in the 90s, and with my drama training, I set myself up travelling to schools and festivals, museums and galleries as a storyteller. The spinning wheel had a new life accompanying me on my adventures. For many children, familiar with references to spinning in fairy tales, seeing the little Philip Elford upright was magical. The wheel was donated to the National Wool Museum in 2021.Vertical tripod leg spinning wheel. 6 spoke wheel with three bobbins. Inscription “Philip Elford Ballart” can be read in gold text stamped to the base of the wheel. Wording, stamped, gold. Philip / Elford / Ballartspinning wheel, textile production, hobby textiles, aciacia melanoxylon (blackwood)

WARM was a community textile art project that saw over 250 knitters come together to create a beautiful collage tapestry. Made entirely from wool, the artwork contains more than 1000 individual hand knitted sections. The project takes aim at global warming, it highlights both the causes and solutions for us to create a sustainable and safe climate for future generations. Lisa Kendal, the co-creator of the project, said “One of the problems in the world is that we have forgotten how to warm ourselves with wool. We have become too dependent on fossil fuels (for heating)”. This is the key idea surrounding the project. WARM began as two large scale images created by Lars Stenberg. The first image is a landscape scarred by coal mining. The second image is the same landscape only many decades later. Regeneration and regrowth have taken over the landscape and hidden the past coal mine completely. In its place is a beautiful landscape including trees, native flowers, a lake, lots of greenery and wind turbines. From March to the end of August in 2016, knitters worked hard to create the over one thousand pieces that came together to form the final tapestry. The pieces were all designed by Fibre Artist Georgie Nicolson of Tikki Knitting Designs, who converted the second image of the healed landscape into patterns for the 250 plus knitters to follow. These patterns included unusual designs such as gum leaves, trees, native flowers and even the wind turbines. During several days of installation, the knitted pieces were stitched together by Lars Stenberg over a picture of the first image of the operational coal mine. They worked to create the second image of the renewed landscape; like an enormous collage. The WARM project was donated to the National Wool Museum in 2021. It was a much-loved hanging within the Ballarat Hospital for many years before coming to the museum. More information about the project can be found on the following website. http://www.seam.org.au/warm The tapestry is made from 1000+ hand knitted sections stitched together to make an image. In the foreground of this image is a large gum tree that stretches from the bottom left to the top right corner. The trunk of this tree follows the left edge of the tapestry, with foliage from the gum tree spanning its top border. The bottom third of the tapestry is predominantly green grass with yellow, pink and red flowers providing sporadic colour. The middle third encompasses a lake, with orange colours surrounding the banks of the water as opposed to the green grasses of the bottom third. To the right of the lake are wind turbines. The top third of the tapestry is blue sky with white clouds. It also contains the previously described gum tree leaves. Each piece of the tapestry is 100% wool and was hand knitted and stitched together. The Tapestry is accompanied by an oil painting on canvas. It is a painting that matches the tapestry and served as a template for the final tapestry. Finally, the tapestry is accompanied by another pointing on wood board. This final panting is of a coal mine. This is the setting before regeneration and regrowth have reclaimed this site, which is the theme captured in the final tapestry. In the foreground of the coal mine painting is the same gum tree described in the tapestry; however, it is grey and sickle with only 4 leaves visible at the top border, compared to the numerous leaves in the tapestry. Also in the foreground is a broken barb wire fence adding to the unwelcoming nature of the site. The colour scheme of this image is of dark greys and browns. A coal fired power plant can be seen in the final third of the image with four chimneys emitting plumes of smoke into the sky. In front of this power plant is the spiral shape of a coal mine, burrowing deep into the earth’s crust. Inside of the coal mine 3 yellow trucks are seen mining and transporting coal to the top of the mine.warm, community textile tapestry, knitting, community artwork, global warming

Cooper S.E. Ball Bearing Grinder made and guaranteed by Sunbeam Corporation Limited. Grinders like this example have been made the same since the early 1900s, with this grinder thought to have been produced in the 1960s. It is belt driven, with the other end of the belt being attached to an engine; the same engine that would have powered the overhead shearing equipment in shearing sheds. It was common for shearing teams to bring their own equipment, especially pre-1960 as most shearing sheds were not connected to power, and shearers preferred to work with their own equipment. The engines that powered the shears and grinder were typically fuelled with kerosene or petrol. The large circular disks are attached to the bolt that protrudes from the grinder and fastened tightly with a nut. An example of seeing a similar grinder in action can be found on the following link - https://www.youtube.com/watch?v=O7eimI_Gm9o. Inventor Frederick Wolseley made the world's first commercially successful power-shearing system in Australia in 1888. US company Cooper, which had been founded in 1843 as a maker of sheep dip, began selling Wolseley equipment in the USA in 1895. The Chicago Flexible Shaft Company successfully entered the power-shearing market a few years later and entered a joint venture with Cooper. It set up a branch in Sydney and sold shearing sets, and engines to power them, into the Australian market. In 1921 the US parent company, realising it needed to make products whose sales were not as seasonal as those of shearing equipment, made its first household appliances and branded them Sunbeam. In 1933, changes in exchange rates and taxes led the company to manufacture engines and shearing equipment in Australia via subsidiary Cooper Engineering, which changed its name to Sunbeam in 1946. Although most Australians know of this company as a major manufacturer of household appliances, its rural division flourished and retained the Sunbeam name for shearing equipment even after it was taken over by New Zealand company Tru-Test in 2001. The grinder is formed from a central arch shaped block of green painted metal. Much of this paint has been lost to age, leaving the grinder in a ‘farm used’ condition with much surface oxidation present. On the front of the arch is a specification plate, reading “Cooper S.E. ball bearing grinder. Made and guaranteed by Sunbeam”. At the foot of the arch, three bolt holes are found for securing the grinder to the base of a solid wooden surface. Two of the bolt holes are found on the front of the grinder, with another found on the rear. From the central arch, a bolt protrudes to the right of the grinder. This large bolt is for securing a grinding plate to the grinder. Above the central arch is a pendulum which holds the comb / cutter that is being sharpened. From the pendulum, a large arm extends down (not pictured) to meet and strike the plate spinning at a rapid speed. On the left-hand side of the central arch of the grinder, a wheel is found which a belt is attached to for power. This belt is then attached to a separate engine, spinning the wheel and hence powering the grinder. The wheel is partially covered with a section of protective bent tube, designed to provide protection from the rapidly spinning wheel. Below this wheel is the belt shifter. It is designed to move the protective bent tube from one side of the grinder to the other, to accommodate the grinder in the setup of different shearing sheds. The two separate grinding plates are identical. They have a slight slope for sharpening the comb and cutters in the correct method, with a slight bias towards the base, or “tooth”, of the equipment. The disks have a large central bolt for attaching to the grinder. They have tags on the horizontal axis of the grinding plates, for securing the plates in transportation, and to help with initial alignment when setting up the grinder. The reverse of these grinding plates has the same green painted metal finish found on the grinder. This paint is also in a ‘farm used’ condition, with surface oxidation present. The grinder would be provided from the factory with a comb holder, shifter for securing the grinding plates, emery cloth and emery glue. The emery cloth is what does the actual grinding and is applied to the grinding disks, replacing once well worn. These items can be seen in the final images in the multimedia section, showcasing advertising for this grinder. Plate. Inscribed. “Cooper / S.E. BALL BEARING GRINDER / MADE AND GUARANTEED BY / Sunbeam / CORPORATION LIMITED / SYDNEY MELBOURNE / ADELAIDE BRISBANE ”sheep shearing, shearing equipment, sunbeam, grinder

Robin WELCH ( 23 July 1936-5 December 2019) Born Nuneaton, Warwickshire, England Robin Welch is one of the most highly respected contemporary British potters. The full range of his work includes large vessels with related paintings, fine drawings, and distinctive bowls and vases which explore colour, surface texture, form, detail of edge, and line. He is one of small group of significant British potters who expanded the language of throwing pots on the wheel through post-wheel additions and alteration. This gave his generally cylindrical forms a more organic and sculptural aspect, but their heavily coloured and textured surfaces were as much about painting, too, as Robin sought an integration of the visual disciplines he enjoyed. As he once wrote: “There’s no divide between art or craft. You decide to be an artist and you’ll use anything. If marooned on a desert island you’d use driftwood.” (https://www.theguardian.com/artanddesign/2019/dec/27/robin-welch-obituary, accessed 23 March 2021) Initially studying at Penzance School of Art under Michael Leach (son of Bernard Leach) and the Central School of Art, London Robin Welch then worked part-time at the Leach Pottery between 1953 and 1959 before opening his own pottery in London's west end (1960 to 1962). After a couple of years of world travel, including working in Australia from 1962 to1965 helping Ian Sprague set up his Mungeribar Pottery and exhibiting in Melbourne, Robin Welch returned to England setting up Stadbroke Pottery in Eye, Suffolk in 1965. Apart from his studion work Robnin Welch was a skilled designer for industry including Wedgwood. When not in his Suffolk studio Robin Welch spent much time in Australia where he appreciated the outback’s arid earth, brilliant light, grittier textures and luminous colour. When not in his Suffolk studio Robin Welch spent much time in Australia where he appreciated the outback’s arid earth and brilliant light, its grittier textures and luminous colour, qualities he sought to convey in-the-round and on canvas. Apart from his studion work Robnin Welch was a skilled designer for industry including Wedgwood, Midwinter and Denby.Stoneware bowl with flange. Glazed in white matt crackle with a faint copper red tint. Dry black glazed rim. Gift of the artist.Robin Welch stamped on baseceramics, robin welch, gippsland, gppsland campus, jan feder memorial ceramics collection

Robin WELCH ( 23 July 1936-5 December 2019) Born Nuneaton, Warwickshire, England Robin Welch is one of the most highly respected contemporary British potters. The full range of his work includes large vessels with related paintings, fine drawings, and distinctive bowls and vases which explore colour, surface texture, form, detail of edge, and line. He is one of small group of significant British potters who expanded the language of throwing pots on the wheel through post-wheel additions and alteration. This gave his generally cylindrical forms a more organic and sculptural aspect, but their heavily coloured and textured surfaces were as much about painting, too, as Robin sought an integration of the visual disciplines he enjoyed. As he once wrote: “There’s no divide between art or craft. You decide to be an artist and you’ll use anything. If marooned on a desert island you’d use driftwood.” (https://www.theguardian.com/artanddesign/2019/dec/27/robin-welch-obituary, accessed 23 March 2021) Initially studying at Penzance School of Art under Michael Leach (son of Bernard Leach) and the Central School of Art, London Robin Welch then worked part-time at the Leach Pottery between 1953 and 1959 before opening his own pottery in London's west end (1960 to 1962). After a couple of years of world travel, including working in Australia from 1962 to1965 helping Ian Sprague set up his Mungeribar Pottery and exhibiting in Melbourne, Robin Welch returned to England setting up Stadbroke Pottery in Eye, Suffolk in 1965. Apart from his studion work Robnin Welch was a skilled designer for industry including Wedgwood. When not in his Suffolk studio Robin Welch spent much time in Australia where he appreciated the outback’s arid earth, brilliant light, grittier textures and luminous colour. Stoneware bowl on a tall foot. Calcium matt glaze, underglaze colour with underglaze metallic lustre. ceramic, jan feder memorial ceramics collection, robin welch, gippsland campus, mungeribar pottery, stadbroke pottery

Robin WELCH ( 23 July 1936-5 December 2019) Born Nuneaton, Warwickshire, England Robin Welch is one of the most highly respected contemporary British potters. The full range of his work includes large vessels with related paintings, fine drawings, and distinctive bowls and vases which explore colour, surface texture, form, detail of edge, and line. He is one of small group of significant British potters who expanded the language of throwing pots on the wheel through post-wheel additions and alteration. This gave his generally cylindrical forms a more organic and sculptural aspect, but their heavily coloured and textured surfaces were as much about painting, too, as Robin sought an integration of the visual disciplines he enjoyed. As he once wrote: “There’s no divide between art or craft. You decide to be an artist and you’ll use anything. If marooned on a desert island you’d use driftwood.” (https://www.theguardian.com/artanddesign/2019/dec/27/robin-welch-obituary, accessed 23 March 2021) When not in his Suffolk studio Robin Welch spent much time in Australia where he appreciated the outback’s arid earth and brilliant light, its grittier textures and luminous colour, qualities he sought to convey in-the-round and on canvas. Apart from his studion work Robnin Welch was a skilled designer for industry including Wedgwood, Midwinter and Denby. Initially studying at Penzance School of Art under Michael Leach (son of Bernard Leach) and the Central School of Art, London Robin Welch then worked part-time at the Leach Pottery between 1953 and 1959 before opening his own pottery in London's west end (1960 to 1962). After a couple of years of world travel, including working in Australia from 1962 to1965 helping Ian Sprague set up his Mungeribar Pottery and exhibiting in Melbourne, Robin Welch returned to England setting up Stadbroke Pottery in Eye, Suffolk in 1965.Stoneware bowl with split flange, glazed with matt white, black and a touch of copper red Tobin Welch stamped on basejan feder memorial ceramics collection, ceramics, robin welch, gippsland campus, jan feder

Electrical telegraphs were point to point text messaging systems primarily used from the 1840's until the late 20th century. It was the first electrical telecommunications system and were sent by an operator or telegrapher using Morse code. Social telegrams were also encouraged and special pictorial forms and envelopes were designed such as the special purple form and envelope which was used when conveying condolence details during World War 2.(fn. Powerhouse https://collection.powerhouse.com.au/object/163103). There was a brief resurgence in telegraphy during World War I but the decline continued as the world entered the Great Depression years of the 1930s.  Although telegraph lines continued to play an important part in distributing news feeds from news agencies post World War 2, the rise of the internet in the 1990s and the widespread installation of the telephones in homes saw the need for telegrams to greatly decline. When the Commonwealth Post and Telegraph Act was passed in June 1902, and a national Postmaster General's Department (the PMG) was established the responsibility for the nation's mail and telephone services fell on Post Offices. The Bendigo Post Office, built in 1887 and situated on Pall Mall was the central distribution centre for receiving and delivering telegrams and continued to deliver communication and postal services until 1997. Now a Visitor Centre, dedicated volunteers at the Post Office continued to demonstrate and educate the public about telegraphic services and the development of this unique form of communication up until 2019 when Covid 19 disrupted every day life, coupled with the death Ted Rankins (the last Post Master and a long term telegraph volunteer at the Post Office). This book was issued to Junior Postal Workers in Bendigo to guide them in the delivery of telegrams and designed to fit into their delivery satchels and carried while on the job. In the early years telegrams were delivered by bicycle and this manual is part of the postal collection donated by the Rankins family in memory of Ted. Small, blue, vinyl covered manual. Contains thirty printed pages covering all aspects of how to correctly deliver telegrams. Topics include 'Loss of telegram', 'Undelivered Telegram', 'special Delivery' and 'Beware of Dogs'. Bound with two ring metal clip. Front cover; Australian Post Office / Telecommunications Division / Telegram / Delivery / Instructions / Headquarters / 1962 Various annotations and updates throughout. ted rankins collection, bendigo post office, bendigo tourism, city of greater bendigo tourism, post office collection

Blotting paper is made from different materials of varying thickness, softness, etc. depending on the application. It is often made of cotton and manufactured on special paper machines. Blotting paper is reputed to be first referred to in the English language in the 15th century but there is a tradition in Norfolk, England that it was invented by accident at Lyng Mill on the River Wensum. It is reported that a Berkshire (England) paper mill worker in East Hagbourne failed to add sizing to a batch of paper that was being produced. The batch was discarded. Subsequently, someone tried to write on a piece of this discarded "scrap" paper and found that it rapidly absorbed any ink applied, making it unusable for writing. Its marked absorbency having been noted, however, led to its subsequently being produced and used as blotting paper, replacing sand, which was the material that had been used for absorbing superficial wet ink. In a time when most paper was produced from "rags", red/pink rags, from which it was difficult to remove all colour and had generally been discarded, were now directed to the production of blotters, hence the historically characteristic pink colour of blotters. https://en.wikipedia.org/wiki/Blotting_paper This blotting paper holder and blotting sheets were donated to Flagstaff Hill Maritime Village by the family of Doctor William Roy Angus, Surgeon and Oculist. It is part of the “W.R. Angus Collection” that includes historical medical equipment, surgical instruments and material once belonging to Dr Edward Ryan and Dr Thomas Francis Ryan, (both of Nhill, Victoria) as well as Dr Angus’ own belongings. The Collection’s history spans the medical practices of the two Doctors Ryan, from 1885-1926 plus that of Dr Angus, up until 1969. ABOUT THE “W.R.ANGUS COLLECTION” Doctor William Roy Angus M.B., B.S., Adel., 1923, F.R.C.S. Edin.,1928 (also known as Dr Roy Angus) was born in Murrumbeena, Victoria in 1901 and lived until 1970. He qualified as a doctor in 1923 at University of Adelaide, was Resident Medical Officer at the Royal Adelaide Hospital in 1924 and for a period was house surgeon to Sir (then Mr.) Henry Simpson Newland. Dr Angus was briefly an Assistant to Dr Riddell of Kapunda, then commenced private practice at Curramulka, Yorke Peninsula, SA, where he was physician, surgeon and chemist. In 1926, he was appointed as new Medical Assistant to Dr Thomas Francis Ryan (T.F. Ryan, or Tom), in Nhill, Victoria, where his experiences included radiology and pharmacy. In 1927 he was Acting House Surgeon in Dr Tom Ryan’s absence. Dr Angus had become engaged to Gladys Forsyth and they decided he further his studies overseas in the UK in 1927. He studied at London University College Hospital and at Edinburgh Royal Infirmary and in 1928, was awarded FRCS (Fellow from the Royal College of Surgeons), Edinburgh. He worked his passage back to Australia as a Ship’s Surgeon on the on the Australian Commonwealth Line’s T.S.S. Largs Bay. Dr Angus married Gladys in 1929, in Ballarat. (They went on to have one son (Graham 1932, born in SA) and two daughters (Helen (died 12/07/1996) and Berenice (Berry), both born at Mira, Nhill ) According to Berry, her mother Gladys made a lot of their clothes. She was very talented and did some lovely embroidery including lingerie for her trousseau and beautifully handmade baby clothes. Dr Angus was a ‘flying doctor’ for the A.I.M. (Australian Inland Ministry) Aerial Medical Service in 1928 . Its first station was in the remote town of Oodnadatta, where Dr Angus was stationed. He was locum tenens there on North-South Railway at 21 Mile Camp. He took up this ‘flying doctor’ position in response to a call from Dr John Flynn; the organisation was later known as the Flying Doctor Service, then the Royal Flying Doctor Service. A lot of his work during this time involved dental surgery also. Between 1928-1932 he was surgeon at the Curramulka Hospital, Yorke Peninsula, South Australia. In 1933 Dr Angus returned to Nhill and purchased a share of the Nelson Street practice and Mira hospital (a 2 bed ward at the Nelson Street Practice) from Dr Les Middleton one of the Middleton Brothers, the current owners of what previously once Dr Tom Ryan’s practice. Dr Tom and his brother had worked as surgeons included eye surgery. Dr Tom Ryan performed many of his operations in the Mira private hospital on his premises. He had been House Surgeon at the Nhill Hospital 1902-1926. Dr Tom Ryan had one of the only two pieces of radiology equipment in Victoria during his practicing years – The Royal Melbourne Hospital had the other one. Over the years Dr Tom Ryan had gradually set up what was effectively a training school for country general-practitioner-surgeons. Each patient was carefully examined, including using the X-ray machine, and any surgery was discussed and planned with Dr Ryan’s assistants several days in advance. Dr Angus gained experience in using the X-ray machine there during his time as assistant to Dr Ryan. When Dr Angus bought into the Nelson Street premises in Nhill he was also appointed as the Nhill Hospital’s Honorary House Surgeon 1933-1938. His practitioner’s plate from his Nhill surgery is now mounted on the doorway to the Port Medical Office at Flagstaff Hill Maritime Village, Warrnambool. When Dr Angus took up practice in the Dr Edward and Dr Tom Ryan’s old premises he obtained their extensive collection of historical medical equipment and materials spanning 1884-1926. A large part of this collection is now on display at the Port Medical Office at Flagstaff Hill Maritime Village in Warrnambool. In 1939 Dr Angus and his family moved to Warrnambool where he purchased “Birchwood,” the 1852 home and medical practice of Dr John Hunter Henderson, at 214 Koroit Street. (This property was sold in1965 to the State Government and is now the site of the Warrnambool Police Station. and an ALDI sore is on the land that was once their tennis court). The Angus family was able to afford gardeners, cooks and maids; their home was a popular place for visiting dignitaries to stay whilst visiting Warrnambool. Dr Angus had his own silk worm farm at home in a Mulberry tree. His young daughter used his centrifuge for spinning the silk. Dr Angus was appointed on a part-time basis as Port Medical Officer (Health Officer) in Warrnambool and held this position until the 1940’s when the government no longer required the service of a Port Medical Officer in Warrnambool; he was thus Warrnambool’s last serving Port Medical Officer. (Masters of immigrant ships arriving in port reported incidents of diseases, illness and death and the Port Medical Officer made a decision on whether the ship required Quarantine and for how long, in this way preventing contagious illness from spreading from new immigrants to the residents already in the colony.) Dr Angus was a member of the Australian Medical Association, for 35 years and surgeon at the Warrnambool Base Hospital 1939-1942, He served as a Surgeon Captain during WWII 1942-45, in Ballarat, Victoria, and in Bonegilla, N.S.W., completing his service just before the end of the war due to suffering from a heart attack. During his convalescence he carved an intricate and ‘most artistic’ chess set from the material that dentures were made from. He then studied ophthalmology at the Royal Melbourne Eye and Ear Hospital and created cosmetically superior artificial eyes by pioneering using the intrascleral cartilage. Angus received accolades from the Ophthalmological Society of Australasia for this work. He returned to Warrnambool to commence practice as an ophthalmologist, pioneering in artificial eye improvements. He was Honorary Consultant Ophthalmologist to Warrnambool Base Hospital for 31 years. He made monthly visits to Portland as a visiting surgeon, to perform eye surgery. He represented the Victorian South-West subdivision of the Australian Medical Association as its secretary between 1949 and 1956 and as chairman from 1956 to 1958. In 1968 Dr Angus was elected member of Spain’s Barraquer Institute of Barcelona after his research work in Intrasclearal cartilage grafting, becoming one of the few Australian ophthalmologists to receive this honour, and in the following year presented his final paper on Living Intrasclearal Cartilage Implants at the Inaugural Meeting of the Australian College of Ophthalmologists in Melbourne In his personal life Dr Angus was a Presbyterian and treated Sunday as a Sabbath, a day of rest. He would visit 3 or 4 country patients on a Sunday, taking his children along ‘for the ride’ and to visit with him. Sunday evenings he would play the pianola and sing Scottish songs to his family. One of Dr Angus’ patients was Margaret MacKenzie, author of a book on local shipwrecks that she’d seen as an eye witness from the late 1880’s in Peterborough, Victoria. In the early 1950’s Dr Angus, painted a picture of a shipwreck for the cover jacket of Margaret’s book, Shipwrecks and More Shipwrecks. She was blind in later life and her daughter wrote the actual book for her. Dr Angus and his wife Gladys were very involved in Warrnambool’s society with a strong interest in civic affairs. He had an interest in people and the community They were both involved in the creation of Flagstaff Hill, including the layout of the gardens. After his death (28th March 1970) his family requested his practitioner’s plate, medical instruments and some personal belongings be displayed in the Port Medical Office surgery at Flagstaff Hill Maritime Village, and be called the “W. R. Angus Collection”. The W.R. Angus Collection is significant for still being located at the site it is connected with, Doctor Angus being the last Port Medical Officer in Warrnambool. The collection of medical instruments and other equipment is culturally significant, being an historical example of medicine and administration from late 19th to mid-20th century. Dr Angus assisted Dr Tom Ryan, a pioneer in the use of X-rays and in ocular surgery. Blotting paper holder, part of the W.R. Angus Collection. Wooden rocking blotting paper holder, arc-shaped with handle and blotting paper inserted in slots (paper is used). Two books of blotting paper sheets, (1) advertising printed on cover. “ACIBAN ANTACID”, “G.P. PTY LTD / Sydney Australia” (2) Folder of blotting paper, with advertising “AMPHOTABS” and “WYETH”“ACIBAN ANTACID”, “G.P. PTY LTD / Sydney Australia” “AMPHOTABS” and “WYETH” flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, dr w r angus, dr ryan, surgical instrument, t.s.s. largs bay, warrnambool base hospital, nhill base hospital, mira hospital, flying doctor, blotting paper holder, office stationery circa 1910, rocking blotting paper holder

Cylindrical (planetary) sharpeners: These mechanisms are also called planetary sharpeners, in reference to their use of planetary gears. A larger, stationary planetary sharpener can be mounted on a desk or wall and powered by a hand crank. Typically, the pencil is inserted into the sharpener with one hand, and the crank is turned with the other. This rotates a set of helical cylindrical cutters in the mechanism, set at an acute angle to each other. The multiple cutting edges quickly sharpen the pencil, with a more precise finish than a single-blade device. Some cylindrical sharpeners have only one helical cutter cylinder, but most have two cylinders or more. https://en.wikipedia.org/wiki/Pencil_sharpener This mechanical pencil sharpener once belonged to Dr. Angus. It was one of his personal belongings and would have been used in his office. The mechanical pencil sharpener has provision for attaching it to a flat surface such as a desk. The user would insert the pencil into the hole in the front of the sharpener, wind the handle around several times until the pencil is the desired sharpness then remove the pencil. The plastic compartment is clear so that the user can see when it needs emptying, slide down the metal braces on the side of it, remove and empty the compartment and fit it back onto the stand. The sharpener was donated to Flagstaff Hill Maritime Village by the family of Doctor William Roy Angus, Surgeon and Oculist. It is part of the “W.R. Angus Collection” includes historical medical equipment, surgical instruments and material once belonging to Dr Edward Ryan and Dr Thomas Francis Ryan, (both of Nhill, Victoria) as well as Dr Angus’ own belongings. The Collection’s history spans the medical practices of the two Doctors Ryan, from 1885-1926 plus that of Dr Angus, up until 1969. ABOUT THE “W.R.ANGUS COLLECTION” Doctor William Roy Angus M.B., B.S., Adel., 1923, F.R.C.S. Edin.,1928 (also known as Dr Roy Angus) was born in Murrumbeena, Victoria in 1901 and lived until 1970. He qualified as a doctor in 1923 at University of Adelaide, was Resident Medical Officer at the Royal Adelaide Hospital in 1924 and for a period was house surgeon to Sir (then Mr.) Henry Simpson Newland. Dr Angus was briefly an Assistant to Dr Riddell of Kapunda, then commenced private practice at Curramulka, Yorke Peninsula, SA, where he was physician, surgeon and chemist. In 1926, he was appointed as new Medical Assistant to Dr Thomas Francis Ryan (T.F. Ryan, or Tom), in Nhill, Victoria, where his experiences included radiology and pharmacy. In 1927 he was Acting House Surgeon in Dr Tom Ryan’s absence. Dr Angus had become engaged to Gladys Forsyth and they decided he further his studies overseas in the UK in 1927. He studied at London University College Hospital and at Edinburgh Royal Infirmary and in 1928, was awarded FRCS (Fellow from the Royal College of Surgeons), Edinburgh. He worked his passage back to Australia as a Ship’s Surgeon on the on the Australian Commonwealth Line’s T.S.S. Largs Bay. Dr Angus married Gladys in 1929, in Ballarat. (They went on to have one son (Graham 1932, born in SA) and two daughters (Helen (died 12/07/1996) and Berenice (Berry), both born at Mira, Nhill ) According to Berry, her mother Gladys made a lot of their clothes. She was very talented and did some lovely embroidery including lingerie for her trousseau and beautifully handmade baby clothes. Dr Angus was a ‘flying doctor’ for the A.I.M. (Australian Inland Ministry) Aerial Medical Service in 1928 . Its first station was in the remote town of Oodnadatta, where Dr Angus was stationed. He was locum tenens there on North-South Railway at 21 Mile Camp. He took up this ‘flying doctor’ position in response to a call from Dr John Flynn; the organisation was later known as the Flying Doctor Service, then the Royal Flying Doctor Service. A lot of his work during this time involved dental surgery also. Between 1928-1932 he was surgeon at the Curramulka Hospital, Yorke Peninsula, South Australia. In 1933 Dr Angus returned to Nhill and purchased a share of the Nelson Street practice and Mira hospital (a 2 bed ward at the Nelson Street Practice) from Dr Les Middleton one of the Middleton Brothers, the current owners of what previously once Dr Tom Ryan’s practice. Dr Tom and his brother had worked as surgeons included eye surgery. Dr Tom Ryan performed many of his operations in the Mira private hospital on his premises. He had been House Surgeon at the Nhill Hospital 1902-1926. Dr Tom Ryan had one of the only two pieces of radiology equipment in Victoria during his practicing years – The Royal Melbourne Hospital had the other one. Over the years Dr Tom Ryan had gradually set up what was effectively a training school for country general-practitioner-surgeons. Each patient was carefully examined, including using the X-ray machine, and any surgery was discussed and planned with Dr Ryan’s assistants several days in advance. Dr Angus gained experience in using the X-ray machine there during his time as assistant to Dr Ryan. When Dr Angus bought into the Nelson Street premises in Nhill he was also appointed as the Nhill Hospital’s Honorary House Surgeon 1933-1938. His practitioner’s plate from his Nhill surgery is now mounted on the doorway to the Port Medical Office at Flagstaff Hill Maritime Village, Warrnambool. When Dr Angus took up practice in the Dr Edward and Dr Tom Ryan’s old premises he obtained their extensive collection of historical medical equipment and materials spanning 1884-1926. A large part of this collection is now on display at the Port Medical Office at Flagstaff Hill Maritime Village in Warrnambool. In 1939 Dr Angus and his family moved to Warrnambool where he purchased “Birchwood,” the 1852 home and medical practice of Dr John Hunter Henderson, at 214 Koroit Street. (This property was sold in1965 to the State Government and is now the site of the Warrnambool Police Station. and an ALDI sore is on the land that was once their tennis court). The Angus family was able to afford gardeners, cooks and maids; their home was a popular place for visiting dignitaries to stay whilst visiting Warrnambool. Dr Angus had his own silk worm farm at home in a Mulberry tree. His young daughter used his centrifuge for spinning the silk. Dr Angus was appointed on a part-time basis as Port Medical Officer (Health Officer) in Warrnambool and held this position until the 1940’s when the government no longer required the service of a Port Medical Officer in Warrnambool; he was thus Warrnambool’s last serving Port Medical Officer. (Masters of immigrant ships arriving in port reported incidents of diseases, illness and death and the Port Medical Officer made a decision on whether the ship required Quarantine and for how long, in this way preventing contagious illness from spreading from new immigrants to the residents already in the colony.) Dr Angus was a member of the Australian Medical Association, for 35 years and surgeon at the Warrnambool Base Hospital 1939-1942, He served with the Australian Department of Defence as a Surgeon Captain during WWII 1942-45, in Ballarat, Victoria, and in Bonegilla, N.S.W., completing his service just before the end of the war due to suffering from a heart attack. During his convalescence he carved an intricate and ‘most artistic’ chess set from the material that dentures were made from. He then studied ophthalmology at the Royal Melbourne Eye and Ear Hospital and created cosmetically superior artificial eyes by pioneering using the intrascleral cartilage. Angus received accolades from the Ophthalmological Society of Australasia for this work. He returned to Warrnambool to commence practice as an ophthalmologist, pioneering in artificial eye improvements. He was Honorary Consultant Ophthalmologist to Warrnambool Base Hospital for 31 years. He made monthly visits to Portland as a visiting surgeon, to perform eye surgery. He represented the Victorian South-West subdivision of the Australian Medical Association as its secretary between 1949 and 1956 and as chairman from 1956 to 1958. In 1968 Dr Angus was elected member of Spain’s Barraquer Institute of Barcelona after his research work in Intrasclearal cartilage grafting, becoming one of the few Australian ophthalmologists to receive this honour, and in the following year presented his final paper on Living Intrasclearal Cartilage Implants at the Inaugural Meeting of the Australian College of Ophthalmologists in Melbourne In his personal life Dr Angus was a Presbyterian and treated Sunday as a Sabbath, a day of rest. He would visit 3 or 4 country patients on a Sunday, taking his children along ‘for the ride’ and to visit with him. Sunday evenings he would play the pianola and sing Scottish songs to his family. One of Dr Angus’ patients was Margaret MacKenzie, author of a book on local shipwrecks that she’d seen as an eye witness from the late 1880’s in Peterborough, Victoria. In the early 1950’s Dr Angus, painted a picture of a shipwreck for the cover jacket of Margaret’s book, Shipwrecks and More Shipwrecks. She was blind in later life and her daughter wrote the actual book for her. Dr Angus and his wife Gladys were very involved in Warrnambool’s society with a strong interest in civic affairs. He had an interest in people and the community They were both involved in the creation of Flagstaff Hill, including the layout of the gardens. After his death (28th March 1970) his family requested his practitioner’s plate, medical instruments and some personal belongings be displayed in the Port Medical Office surgery at Flagstaff Hill Maritime Village, and be called the “W. R. Angus Collection”. The W.R. Angus Collection is significant for still being located at the site it is connected with, Doctor Angus being the last Port Medical Officer in Warrnambool. The collection of medical instruments and other equipment is culturally significant, being an historical example of medicine from late 19th to mid-20th century. Dr Angus assisted Dr Tom Ryan, a pioneer in the use of X-rays and in ocular surgery. Pencil sharpener, mechanical, part of the W.R. Angus Collection. Metal stand and frame, plastic compartment to hold the shavings. Rotating plastic handle. Metal front on compartment has a re-inforced hole for inserting pencil. Plastic oompartment has sliding metal bracket on each side to allow its removal. Base has two holes for mounting on flat surface. Mid 1900's. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, dr w r angus, dr ryan, surgical instrument, t.s.s. largs bay, warrnambool base hospital, nhill base hospital, mira hospital, flying doctor, pencil sharpener, mechanical pencil sharpener, office equipment, office stationery

Shilinglaw Cottage in its original location on Main Road Eltham with the three Mediterranean Cypress trees (“Shillllinglaw trees”) in the garden. Note a fourth pine to the right. This image was taken shortly before its relocation. Believed to be have been taken by John Collins, 17 Oct 1963 as per other images held by the State Library of Victoria Author / Creator: John T Collins 1907-2001 , photographer. J.T. Collins Collection, La Trobe Picture Collection, State Library of Victoria. Shillinglaw Cottage is significant to Eltham’s local history. It is one of the earliest known buildings still in existence. Records suggest that the cottage was built circa 1859 by a man named Cochrane, believed to be Thomas Cochrane, in conjunction with George Stebbings though it is not known what Stebbings’s contribution was. It is made from hand made bricks laid in a Flemish bond pattern. In the 1960s it was marked for demolition to make way for the construction of new council buildings but a community campaign saved the cottage and it was re-located. It is believed Stebbings owned the cottage between 1874 and 1888. According to Margaret Ball’s (2017) book Shillinglaw Family of Eltham 1660-2007, Thomas Cochrane and family lived there from 1867 to 1874 however this is contrary to the records of assessable rates levied by the Eltham District Road Board, established in 1858, which shows Cochrane was the owner occupier (in Little Eltham) of approximately 25 acres of cultivated land and 25 acres of pastureland upon which a hut was sited in 1860. It is suspected that George Stebbings may have acquired the property from Cochrane in 1874 as it is noted that he had a tenant for a period, James Rossiter, who was the editor for the Evelyn Observer in Kangaroo Ground in 1874 (LATE SHIRE OFFICE AT KANGAROO GROUND (1934, February 16). Advertiser (Hurstbridge, Vic. : 1922 - 1939), p. 5. Retrieved February 25, 2022, from http://nla.gov.au/nla.news-article56743657). In 1881 Phillip Shillinglaw became the ratepayer for the cottage though Stebbings retained ownership until 1888 at which time it was transferred to Shillinglaw.Shillinglaw Cottage is itself historically, aesthetically and socially significant to the Shire of Nillumbik and is registered on the Victorian Heritage Database. This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book, "Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.Digital image 4 x 5 inch B&W Negsepp, shire of eltham pioneers photograph collection, eltham, shillinglaw cottage, significant tree

Shows Mrs J. Brown, one of her four daughtrers and her two sons who died in World War One with their dog posing in front of fence of Headmaster's house, at Eltham State School, Dalton Street. Date circa 1902. The building still stands. Reproduced p66 of Pioneers & Painters Mrs Jane Elizabeth Brown (nee Staines) and three children of her large family who left the Headmaster's residence when John Brown (Headmaster 1889-1906) died (on the job) in 1906. John and Jane had ten children eight girls and two boys. Their two sons both died in the 1914-1918 War; George Stewart Brown (1885-1916) and John Leonard Brown (1887-1918). The young girl may be Elsie Maria Brown (1889-1917) which would date the photo around 1902. Wall Bros operated at St Kilda from around 1889 to 1903. John Brown died 23 Sept 1906 after a short severe illness at age 55 and is buried in Box Hill Cemetery (Evelyn Observer 28 Sep 1906 p2). The book "We did open a school in Little Eltham" incorrectly states his date of death as 16/12/1906. Title The Evelyn Observer. (1906, September 28). Evelyn Observer and Bourke East Record (Vic. : 1902 - 1917), p. 2 (MORNING.) Url http://nla.gov.au/nla.news-article61129880 Description It is with sincere regret we record the death of Mr. John Brown, State school teacher, Eltham, which sad event took place at his residence, "Pine Brae," on Sunday night last, 23rd inst. after a severe illness of some few weeks' duration. The deceased gentleman was highly respected, and always took a lively and active interest in promoting the progress and prosperity of the district, and his loss will be much felt, He was only 55 years of age, and leaves a wife and large family to mourn their loss, and much sympathy is felt for them. The remains of the deceased were interred in the Box Hill cemetery on Wednesday afternoon last. This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book,"Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.Digital image 4 x 5 inch B&W Neg Sepia photo B&W printSepia photo reverse: Miss Tonkinson Used Pioneers and Painters p66 Could be Miss Brown and part of her family who left the Headmaster's residence when John Brown (Headmaster 1889-1906) died (on the job) in 1906. Then 2 sons both died in the 1914-1918 War Between 1888 and prior to 1906. Also Wall Bros. St Kilda stamp B&W print: 66 and 9 7/16" x 5 5/8" deep (for publication on p66 of Pioneers & Painters)sepp, shire of eltham pioneers photograph collection, state school residence, eltham state school, state school no. 209, dalton street, eltham primary school, teacher residence, eltham, headmaster, houses, main road, pioneers and painters, school, school residence, schools, george stewart brown (1885-1916), elsie maria brown (1889-1917), john leonard brown (1887-1918), jane elizabeth brown (nee staines)

In 1872 William Tulloch and Alexander McLaren constructed a new brick 'Royal Standard Brewery' to the design of architect Henry R. Caselli. They had been operating a much smaller 'Royal Standard' Brewery, possibly since 1859. The Ballarat Brewing Company was established in 1895 and took over operations of the 'Royal Standard'. This new company resulted in the merger of the 'Royal Standard Brewery', James Coglans 'Phoenix Brewery' (Warrenheip) and Henry Leggo's 'Barley Sheaf Brewery' (Creswick Rd). J. Coglan and W. Tulloch were principals of the new company. By 1912 the Ballarat Brewery buildings fronting Armstrong Street were upgraded and new plant installed. Ballarat Brewing Company was well established as a thriving business. In 1926 'Ballarat Bertie' (the cellar-man) advertising image was introduced. It was used successfully until 1994 on 'Ballarat Bitter' labels. During the1940s and 50s the Ballarat Brewing Company was significantly upgraded and extended equipment and buildings. In 1959 Carlton and United Breweries purchased the Ballarat Brewery, its brewing rights and the land (but not the 114 BBC hotels or the Dana Street offices). The Lydiard Street frontage become the 'front' of the CUB Brewery. CUB ceased brewing at the Ballarat Brewery site in 1989 and closed the plant. Four years later the 'brewery site' was purchased by the Ballarat School of Mines to enlarge its campus area as TAFE was a rapidly expanding areas of education. In 1994 plans were developed for the 'Brewery Complex' with careful regard for needed educational facilities and due concern regarding historical aspects of the site and its buildings. There was close consultation and cooperation with the Ballarat City Council during the planning process. In 1995 most of the Brewery buildings were demolished by some special structures and features are preserved. The old brewery chimney was retained as a permanent reminder of the original industrial site, as were two boilers. The SMB Brewery Complex was completed in 1996 and reflects aspects of the former brewery's appearance. It was opened by Prime Minister John Howard on 28 February 1997. Further details at http://guerin.ballarat.edu.au/curator/buildings/site_listing_brewery-complex.shtml Twenty five colour photographs of the Brewery Building at the University of Ballarat SMB (Ballarat School of Mines) campus. The Brewery Building is built on the site of the former Ballarat Brewery and incorporates the chimney and 'Cowley' boilers from that site. ballarat school of mines, henry richards caselli, henry caselli, ballarat brewing, brewery, beer, cowleys foundry, carlton and united breweries

The following are the recollections of John Elkins, who started school in February, 1945 at Maryborough in Queensland, Australia. 'I think in Prep 1 that we had some paper to write on with pencils, but my memory of the routine use of slates is much more vivid. Each slate was framed in wood and one side was inscribed with lines to guide the limits for the upper and lower extremities of letters. The slate "pencils" were made of some pale gray mineral softer than slate which had been milled into cylinders some one-eighth of an inch in diameter and inserted into metal holders so that about an inch protruded. Each student was equipped with a small tobacco tin in which was kept a damp sponge or cloth to erase the marks. Sharpening slate pencils was a regular task. We rubbed them on any suitable brick or concrete surface in the school yard. Teachers also kept a good supply of spares, all writing materials and books being provided by the school. It is possible that the retention of slates stemmed from the political imperative that public education should be free. I do recall being given a Copy Book for home practice of letter formation, a typical practice until Grade 6. The tables at which we used to sit in the Infant School were replaced in the primary Grades by long desks seating five or six pupils. These had slots into which the slates could be inserted vertically. When the teacher asked the class to clear their desks, the command issued was "slates away!" This was an occasion for a noisy expression of relief as we dropped the slates producing a sound not unlike a volley of rifle shots, and usually brought a request from the teacher to repeat the process with no noise by holding the frames throughout. Thus, I suspect we may still have used slates in Grade Three, though by then paper, which may have been scarce during the War, seemed to be used more routinely.' The full context of John's account of writing during his primary school days can be found at: https://www.readinghalloffame.org/sites/default/files/history_of_literacy_22slates_away22_penmanship_in_queensland_australia.pdfSchool desks and benches/chairs have been in use in schools since formal group education started.Eight long school desks (five higher three lower), each with four inkwells and groove along length. eight school benches (five higher three lower). Each desk and bench accommodates four children.None.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

Wool picking machine designed to separate locks of wool before it is carded and spun. The picker opens the wool’s locks which makes it easier to send the fleece through a carding machine. It does this by teasing the fibres (which can also be done by hand just by pulling the lock structure apart), but a picker does this in bulk and much quicker than what can be done by hand. It is possible to spin fibres directly after the picking stage; however, it is usually more desirable to card and blend them with other fibres. Typically, at a textile mill, a picking machine can separate enough lengths of fibre for a full day’s work after just a single hour. It will also help to remove any vegetation matter or other any unwanted elements that may be present in the wool. The quality of the casting on this machine suggest that it was made locally, either in Australia or New Zealand. Mike Leggett, the donor of the machine, acquired it from New Zealand where the seller said it had been used by his father to pick wool to make hand stuffed horse saddles. Mike attempted to used it a couple of times to pick alpaca hair, but the speed of the attached motor caused damage to the fibres. The motor is thought to be an added attachment, sometime around the 1960s judging by its age, while the machine itself is thought to be dated around the 1920s. The machine works by inserting wool through the rollers. Initially there was a conveyor belt feeder system which was powered by the handle on the side. This conveyor belt has been removed however, most likely due to age and deterioration. Wool is now fed through the initial teeth and is met by a spiked rotating drum which works to separate the fibres. The separated fibres would then complete a loop of the drum before being dispatched somewhere below, around where the motor presently sits, at a rapid rate of speed. Typically this wool will be collected in a closet or large catchment area, as can be seen from the 8:47 minute marker in the linked video (link - https://www.youtube.com/watch?v=kMjx-t3tH3A). It is not apparent how the wool is collected with this machine. Red and green machine with four green legs currently attached to a wooden pallet with wheels for easy movement. The green legs lead up to a red central circular barrel from which many attachments are present. Also present on the wooden pallet is a small black motor which is attached by a rubber belt to the central drum inside the red barrel. The belt spins the wooden drum via a dark red circular plate attached to the side of the drum. On the other side of the red barrel, a green handle extends for turning the picker’s conveyor belt feeder system. Two green walls extend forward from the central red barrel, guarding either side of where the conveyor belt would have been. At the start of these walls is a wooden cylinder, which the conveyor belt would have wrapped around, followed by two interlocking gears which rotate and accept the fed wool. The red roof extends over the central cylinder from here, securing the wool inside and protecting hands from the heavily spiked internal wooden cylinder which rotates and separates (picks) the wool. Extending over the top of this red roof is a green handle which reaches to the back of the machine (not pictured). Here it accepts a weight to ensure pressure is always present for the initial feeder interlocked gear teeth. There are two large gear cogs on the rubber belt side of the machine and 3 small gear cogs on the handle side of the machine, all coloured green. A green handle is also present at the rear of the machine, below the location from which the weight is hanging. A power cable extends from the motor and there are two adjustable metal rods on the top of the machine, the purpose of these rods is presently unknown. Black texter. On top of drum. Wording: HG3707 Wording. Imprint: BRACEWIND BLYN On motor. Wording AEIwool picking, textile manufacturing, wool processing

"During 1984 local community members identified a need for community based palliative care services. A steering committee formed and after much consultation in 1985 an incorporated association was formed. With strong community support the committee lobbied for and gained government funding. State funds were granted in April 1987 for two nurses and a vehicle to operate from Ballarat and District Nursing Society’s Headquarters in Armstrong St, Ballarat. During 1989 Ballarat Hospice Care was recognised as a model for palliative care services. Service development continued leading to the purchase and refurbishment of 312 Drummond St Sth, Ballarat with operations commencing in 1999 from that location." (From: Ballarat Hospice Care website, https://ballarathospicecare.org.au/who-we-are/history) Unions Ballarat Secretary, Graeme Shearer, was on the steering committee as a Labour Organisation representative. Documents: 1. Palliation Plus Program, Steering Committee Meeting Author: Alan Carless Date: 29 November ???? 2. Ballarat Hospice Care - letter - rules incorporated Author: Alan Carless Date: 3rd December 1984 3. Steering Committee - apologies for not attending meeting and rates of pay for nurses Author: Alan Carless Date: n.d. 4. Palliation Plus Program - letter to Graeme Shearer and Dulcie Corbett, Ballarat Trades and Labour Council Author: Alan Carless Date: 4th November 1984 5. Ballarat Hospice Care - Steering Committee Meeting Author: Alan Carless Date: 29 November 1984 6. Ballarat Hospice Care (inc.) - letter - requesting financial support Author: Ballarat Hospice Care Date: n.d. 7. Ballarat Hospice Care (inc.) - Newsletter Author: Ballarat Hospice Care Date: December 1985-January1986 8. Palliation Plus Program - letter to Graeme Shearer - invitation to first meeting of steering committee. Author: Alan Carless Date: 20 October 1984 9. Palliation Plus Program - Steering Committee Meeting Author: Alan Carless Date: 1st November 1984 10. Palliation Plus Program - hospice working conditions Author: Alan Carless Date: 4th November 1984 Union role in community decision making and social improvements.Loose documents - minutes, agendas and correspondence - scanned.Handwritten notes on some documents.btlc, ballarat trades and labour council, ballarat hospice care, palliative care, community consultation

Two legatees with James Tierney and his Corps of Commissionaires service medal. The notes on the back infer that Legatees were involved in the commemoration of James Tierney's life by arranging his burial at sea. An article in The Age 6 Jan 1953 mentions that Jim Tierney was the first paid instructor employed by Legacy for physical training classes in 1927. He also became one of the two Commissionaires at the Shrine of Remembrance for 12 years up to 1953. The service medal he is receiving in the photo comes from the Corps of Commissionaires Association (Australia), which has information at http://www.thecorps.com.au. A summary: "The Corps of Commissionaires was founded in London 1859 by Sir Edward Walter KCB. The original aim was to provide to employment and welfare support for veterans of the Crimean War. The Corps of Commissionaires was established in Australia in New South Wales in 1939 and became based in Victoria in 1946. There are Corps members in all states in Australia from all three Australian military services. Our members range from World War 2 veterans through all conflicts to Timor and Peacekeepers. The Corps is currently an ex-service, welfare and philanthropic organisation that is located at the Veterans Centre in the Heidelberg Repatriation Hospital, Victoria." The details of the three legatees mentioned are: Legatee Samuel J. Benson (Lieut.Commander) – born 12.7.1909, inducted 17 October, 1950, died 26.7.95. Served in WWII with the RAN for 6 years. He was a Junior Legatee before the war, and Legacy found him a job in the office of an Adelaide Shipping Company. After the war he became a Master Mariner, Sea Pilot. He was proposed as a Legatee by Stan Savige. Legatee Donald J. Simonson (Captain) – born 21.5.1920, inducted 27 July 1953, died 11.7.2010. Served in WWII in 39th Battn., Decorated with M.C. Worked as an Importer and Manufacturers Agent after the war. President of Melbourne Legacy 1970. Legatee Adrian Beattie (Captain) – born 21.3.1920, inducted 10.10.1950, died 8.8.1989. Served as a Signal Officer in 24th Btn. After the war worked as a Physiotherapist.A record of a type of work done by Legatees.Black and white photo of two Legatees and Jim Tierney.Front of photo has a typed label saying: "Jim Tierney receiving Commissionaire's Service Medal". The back "James Edward TIERNEY at Royal Park receiving Service Medal, Corps of Commissionaire. Buried at Sea (1963): by Legatees Sam Benson, Donald Simonson, Adrian Beattie, and families in Port Philip Bay by kind favour Port Philip Pilot Service" in blue ink.legatee event, jim tierney, boys classes

John O'LOUGHLIN Born Snowtown, South Australia In 1980 John O'Loughlin's life changed when he started wheel throwing ceramic vessels. During this time he discarded the superfluous and unnecessary clutter collected on the journey of life, yet retaining the essence of what mattered to him. John O’Loughlin's later artworks engages with the way in which organised religion, specifically the Catholic Church, deals with the translation of the spiritual into the material. Informed by his extensive travels and studies, O’Loughlin’s ceramics reference the reliquaries and church artefacts that connect the life of this world with that of faith in another world. Completing undergeduate and post graduate works at Federation University John O'Loughlin's honours thesis was entitled "Ways and Means of Meaning, The Use of Symbol and Surface as Expressive Media in Ceramic Sculpture". The University provided a serious ceramic studio equipped with all the research tools for advanced ceramic exploration. Access to raw materials and a variety of kilns combined with excellent lecturers, mentors and technicians inspired, motivated and challenged him to push his accumulating knowledge to higher levels. O'Loughlin's working method in the studio is one of quiet, determined interaction with clay, idea and content. Experimentation with a variety of temperatures, firing methods and atmospheric conditions has produced a broad tonal and textural palette. He has worked with various clay bodies overlaid with coloured oxides, slips and engobes as the foundation for many of his works. O'Loughlin ufilised raised surfaces from old cemetery tombstones using the impressed forms and textures in his constructions. This research led him to the use of dry engobes to create a sense of antiquity, with crusty and distressed surfaces that resemble objects neglected in the oceans. These objects seem covered with the accretions and accumulations of history when re-discovered and brought to the surface as miraculous objects of mystery and magic. (https://www.thefreelibrary.com/John+O%27Loughlin%3A+a+man+re-invented.-a0216897107, accessed 12 September 2020) in 2007 John completer a Masters at the University of Ballarat. 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.Botanical inspired wheel thrown goblet with decorative incised leaves on stem and flower head shaped cup. Glazed 'JOL' on bottom.art, artwork, goblet, botanical, ceramic, john o'loughlan, alumni

John O'LOUGHLIN Born Snowtown, South Australia In 1980 John O'Loughlin's life changed when he started wheel throwing ceramic vessels. During this time he discarded the superfluous and unnecessary clutter collected on the journey of life, yet retaining the essence of what mattered to him. John O’Loughlin's later artworks, such as 'Reliquary No. 20' engages with the way in which organised religion, specifically the Catholic Church, deals with the translation of the spiritual into the material. Informed by his extensive travels and studies, O’Loughlin’s ceramics reference the reliquaries and church artefacts that connect the life of this world with that of faith in another world. Completing undergeduate and post graduate works at Federation University John O'Loughlin's honours thesis was entitled "Ways and Means of Meaning, The Use of Symbol and Surface as Expressive Media in Ceramic Sculpture". The University provided a serious ceramic studio equipped with all the research tools for advanced ceramic exploration. Access to raw materials and a variety of kilns combined with excellent lecturers, mentors and technicians inspired, motivated and challenged him to push his accumulating knowledge to higher levels. O'Loughlin's working method in the studio is one of quiet, determined interaction with clay, idea and content. Experimentation with a variety of temperatures, firing methods and atmospheric conditions has produced a broad tonal and textural palette. He has worked with various clay bodies overlaid with coloured oxides, slips and engobes as the foundation for many of his works. O'Loughlin ufilised raised surfaces from old cemetery tombstones using the impressed forms and textures in his constructions. This research led him to the use of dry engobes to create a sense of antiquity, with crusty and distressed surfaces that resemble objects neglected in the oceans. These objects seem covered with the accretions and accumulations of history when re-discovered and brought to the surface as miraculous objects of mystery and magic. (https://www.thefreelibrary.com/John+O%27Loughlin%3A+a+man+re-invented.-a0216897107, accessed 12 September 2020) 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.Four wheel thrown goblets, two with decorative stems. art, artwork, john o'loughlin, ceramics, goblets

John O'LOUGHLIN Born Snowtown, South Australia In 1980 John O'Loughlin's life changed when he started wheel throwing ceramic vessels. During this time he discarded the superfluous and unnecessary clutter collected on the journey of life, yet retaining the essence of what mattered to him. John O’Loughlin's later artworks, such as 'Reliquary No. 20' engages with the way in which organised religion, specifically the Catholic Church, deals with the translation of the spiritual into the material. Informed by his extensive travels and studies, O’Loughlin’s ceramics reference the reliquaries and church artefacts that connect the life of this world with that of faith in another world. Completing undergeduate and post graduate works at Federation University John O'Loughlin's honours thesis was entitled "Ways and Means of Meaning, The Use of Symbol and Surface as Expressive Media in Ceramic Sculpture". The University provided a serious ceramic studio equipped with all the research tools for advanced ceramic exploration. Access to raw materials and a variety of kilns combined with excellent lecturers, mentors and technicians inspired, motivated and challenged him to push his accumulating knowledge to higher levels. O'Loughlin's working method in the studio is one of quiet, determined interaction with clay, idea and content. Experimentation with a variety of temperatures, firing methods and atmospheric conditions has produced a broad tonal and textural palette. He has worked with various clay bodies overlaid with coloured oxides, slips and engobes as the foundation for many of his works. O'Loughlin ufilised raised surfaces from old cemetery tombstones using the impressed forms and textures in his constructions. This research led him to the use of dry engobes to create a sense of antiquity, with crusty and distressed surfaces that resemble objects neglected in the oceans. These objects seem covered with the accretions and accumulations of history when re-discovered and brought to the surface as miraculous objects of mystery and magic. (https://www.thefreelibrary.com/John+O%27Loughlin%3A+a+man+re-invented.-a0216897107, accessed 12 September 2020) 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.Lidded ceramic form.art, artwork, john o'loughlan, ceramics, available, available ceramics

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

No 4 Squadron, Australian Flying Corps, formed at Point Cook, Victoria, in October 1916. After embarking for England to complete its training, the squadron deployed to France in December 1917. From the outset, No 4 Squadron aircraft regularly engaged the Red Baron's elite 'Flying Circus' and, in spite of their lack of experience, quickly gained the ascendancy over the German squadron. During its brief war service, No 4 Squadron destroyed some 128 enemy aircraft and spawned a total of eleven aces. The squadron's highest scoring airman was Captain Cobby who, in addition to shooting down 29 aircraft, also destroyed 13 observation balloons. World War II saw No 4 Squadron Wirraways deployed to Port Moresby in support of Australian troops fighting in the New Guinea jungles. In their slow and vulnerable aircraft, losses from anti-aircraft fire were high, however, this never deterred the Wirraway crews from completing their assigned tasks. This aggressive spirit was exemplified by Pilot Officer Archer and his crewman, Sergeant Coulston, who, while on a reconnaissance mission, found themselves above a Japanese Zero fighter. Despite operating a vastly inferior aircraft, Pilot Officer Archer dived to the attack and shot down the enemy aircraft. In June 1943, No 4 Squadron received its first Boomerang fighters and continued to support Allied troops during the Cape Gloucester landings before moving to Morotai. No 4 Squadron ended the war in Borneo and returned to Australia in November 1945, where it was renamed No 3 Squadron - thus closing the chapter on a very distinguished and proud unit. Summary of Unit Name(s) Start Date End Date No. 4 RAAF Hospital, Butterworth 06/06/1966 06/06/1966 No. 4 RAAF Hospital, Butterworth 03/07/1966 No. 4 RAAF Hospital, Butterworth 01/08/1966 01/08/1966 No. 4 RAAF Hospital, Butterworth 05/09/1966 No. 4 RAAF Hospital, Butterworth 29/09/1966 No. 4 RAAF Hospital, Butterworth 29/10/1966 29/10/1966 http://www.airforce.gov.au/raafmuseum/research/units/4sqn.htmWooden Plaque 15cm x 13cm with insignia of 4 Sqn.R.A.A.F. Hospital 4 Sqn R.A.A.F. Hospital r.a.a.f. 4 squadron, butterworth, r.a.a.f. hospital

Glass manufacturing has evolved over thousands of years. Glass making has been traced back to 3500 BC in Mesopotamia. The earliest known glass objects were beads, perhaps made by accident while working with metal. In the late Bronze Age, several civilizations discovered how to make vessels and glass bottles by wrapping threads of melted glass around cores of sand or clay. Later, moulds were used to form dishes and table wares. Around the 1st century BC, glassblowing was discovered. This made glass containers less expensive than pottery. Mould-blown glass, the process of blowing a piece of molten glass into a wooden or metal mould, was invented during the 1st century AD. This technique was faster with more consistent results. It paved the way for mass production. It wasn’t until the late 1800s that the production process to become more efficient. In 1887, a company in England created a semi-automatic process that could produce up to 200 bottles an hour. This process has been refined to the point where modern machines can yield more than 600 containers per minute. Blown vs. Manufactured Glass Bottles Nowadays, glass bottles, jars, and cups are usually manufactured on a bigger scale than is found in individual glassblowing studios. If we still depended on hand-blown glass for all of our glass containers, we would see some major differences in the process of creating bottles and jars. First, there's the time. Hand blowing glass takes a significant amount of time, even for one simple container. In contrast, hundreds of jars per minute can be made using modern technology. This leads to the second advantage: price. Because of the automated and streamlined process, the price for manufactured containers is much lower than that of hand-blown glass. Third, manufactured bottles will be much more consistently uniform than bottles blown by hand. Automated glass manufacturing produces nearly identical batches of jars. Glass blowing is awesome for unique, beautiful pieces of art. But for lots of lower priced and uniformly shaped containers, automatic manufacturing is the preferred method to create glass bottles and jars. https://www.containerandpackaging.com/resources/glass-bottles-brief-history The invention and development of glass for domestic items including bottles, has been nothing short of revolutionary. The use of glass bottles, that could be easily washed, led to improved hygiene, and mass manufacturing of drinks of all types, including milk, cordial and alcoholic beverages.Green Glass Bottle Possibly a ginger beer bottle.Concave indentation at the base. Also on base are two raised lumps. flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, glass

François Boullier of France and Isaac Hunt of England both took credit for inventing the cheese grater in the 1540s. Ingredient supplies, mainly milk, ebbed and flowed in both France and England, as they have in the United States during this coronavirus pandemic. Boullier originally aimed to use up an overabundance of cheese in Paris. An avoidance of meat led French farmers to convert their meat herds (often boys) to dairy-producers (girls), which led to more milk and even too much milk, which led to a market flooded with cheese. Boullier made his first cheese grater out of pewter to grate hard, sometimes dried out cheeses, which turned them into a sort of condiment. Pewter is known as a rather soft metal, and Boullier’s original grater is reportedly on display in a museum in Le Havre, France. Isaac Hunt wanted to stretch cheese due to a shortage in England, so he grated and melted it for Welsh rarebit and other dishes. Grating cheese allowed more even distribution of the cheese to melt it in cooking and still does. During the Great Depression of the 1930s, Philadelphia cheesemonger and entrepreneur Jeffrey Taylor also wanted to stretch cheese for to bulk up cheese features, including vegetables, to make them look like more filling food during difficult economic times. Taylor read about Boullier’s invention and made his own by sharpening the holes of a metal shower drain. For the last century, many companies have tried to improve the cheese grater and invent a new “latest” one that we all must-have. Graters are now made of all sorts of materials including bamboo, wood, and various metals. Some are decorated with clowns’ heads, some are shaped like plastic frogs, while others bear knuckle protectors. They vary in size, shape, and function. Grating slots come with different angles and shapes of slots and can grate everything from zucchini, onions and cheese, to cooked eggs, coconut, potatoes, cabbage, and lemon and orange peel, and possibly even create wood shavings. Smaller graters grate ginger and garlic. https://www.cheeseprofessor.com/blog/antique-cheese-gratersThe grater has been used for hundreds of years and has proved its worth in the kitchen throughout history.Grater metal (3 parts) Tripartite with hinges for folding.None.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, grater

Predominantly brown covered paperback of 460 pages featuring an image of Arch Hoadley in Antarctica on the cover.non-fictionballarat school of mines, antarctica, footscray technical school, baden powell, scouts, douglas mawson, arch hoadley

Francis Davis was the only former student of the Ballarat Junior Technical School to die during World War One. "Francis Davis was accorded a full military funeral, firing party, bugler and pallbearers. The coffin was draped in the Union Jack and surmounted in several beautiful wreathes sent from his brother 2/A.M. E.H. Davis (A.F.C Leighterton), officer of the A.F.C. Leighterton, Gloucester, Cadets of A.F.C. and many other personal friends of the deceased. The "Last Post" was sounded at the graveside, and the Rev. Major K.D. Norman C. of E. A.I.F. officiated. The grave was to be turfed and an oak cross erected by the A.I.F. London. Administrative Headquarters A.I.F. London were represented at the funeral. (http://naa12.naa.gov.au/scripts/Imagine.asp?B=1858392, accessed 24 January 2014.) According to Neil Leckie, Manager of the Ballarat Ranger Military Museum: * Originally 12 – 14 year olds went to Junior Cadets attached to their school. * From age 14 – 17 they were Senior Cadets attached to the local militia unit. * After 1 July of the year a Cadet turned 18, the Cadet left the Senior Cadets and became a member of the Citizen Military Force. * In October 1918 the AIF, Militia and Cadets were renamed to give some connection to the AIF battalion raised in the area. Ballarat saw: 8th Australian Infantry Regiment comprising: * 8th Battalion AIF renamed 1st Battalion 8th Australian Infantry Regiment * 70th Infantry Militia renamed 2nd Battalion 8th Australian Infantry Regiment * 70th Infantry Cadets renamed 3rd B, 8th Australian Infantry. 39th Australian Infantry Regiment comprising: * 39th Battalion AIF renamed 1st Battalion 39th Australian Regiment * 71st Infantry Militia renamed 2nd Bn, 39th Australian Infantry Regiment * 71st Infantry Cadets renamed 3rd Bn, 39th Australian Infantry Regiment Prior to the reorganisation in 1918 the 18th Brigade was the 70th, 71st and 73rd Infantry. It is thought that the 18th Brigade Cadet units in 1920 were those that came from the old: * 69th Infantry (Geelong/Queenscliff) * 70th Infantry (Ballarat/Colac) * 71st Infantry (Ballarat West) * 72nd Infantry Warrnambool) * 73rd Infantry (NW Vic) The next name change came in 1921!Black and white photograph of a group of school boys in army uniform. They are members of the Ballarat Junior Technical School Cadets. Back Row: D.O. Taylor, Albert E. Williams, B. Burrows, J.B. Hobba Standing: Francis Davis, Miller, A. Burge, P. [Peter] Chatham. J. Minster, H. Witter, H. Siemering Kneeling: T.G. Wasley, Alan Riley, A.H. Hoskin. N.C. Carmichael, Harold G. Wakeling, T. Rees, W.H. Shattock, F.N. Gibbs Front: S.J. Chambers, F.J. Procter, Charles H. Beanland francis davis, frank davis, ballarat junior technical school cadets, cadets, d.o. taylor, albert e. williams, b. burrows, j.b. hobba, miller, a. burge, p. chatham, j. minster, h. witter, h. siemering, t.g. wasley, a. riley, a.h. hoskin, n.c. carmichael, harold wakeling, t. rees, w.h. shattock, f.n. gibbs, s.j. chambers, f.j. procter, charles h. beanland, alan riley

TACL-Tractor Appliance Company Limited TACL rail tractors manufactured by Malcolm Moore of Port Melbourne Located in the Parishes of Moondarra and Telbit, Gippsland, the tramway terminated at Collins Siding on the Moe Walhalla 2'6"gauge branch of the Victorian Railways. Its construction by the Forests Commission of Victoria was to facilitate the extraction of timber from the Southern and Western slopes of Mount Erica and to replace the outlet tramways destroyed during the disastrous forest fires of February 1926. Tyers Valley Tramway The line, following the Eastern arm of the river, passed Ingrams Siding (7m.) to terminate at a forest area, known as "Ten Acre Block", 8m. 60c. from Collins Siding. The western branch of the line followed the Western Tyers Valley to Growlers Creek, 13m. 40c. from Collins Siding. THE T.A.C.L. TRACTORS at Tyers Valley tramway. On the 19th January 1928, T.A.C.L. locomotive, purchased from Tractor Appliance Co. Ltd. (Malcolm Moore), was delivered. This unit had a 20 h.p. Fordson engine coupled by a chain drive to the two axles, providing a tractive effort of approx. 2000lbs. Wheelbase was 5’ and weight was four tons. It was intended that the two tractor locomotives, working with the grade, would deliver timber from the branch lines to Tyers Junction, from which place it would be steam hauled out to the Collins Siding transfer point. Following a breakdown of the steam locomotive, haulage during the early months of 1928 was carried out by the T.A.C.L. unit, supplemented by the Nattrass, which was, by this time, becoming unreliable. During April 1928, after ensuring that no suitable locomotive was available in Australia, an order was placed with the Climax Manufacturing Co., U.S.A. for the supply of a geared locomotive. A second T.A.C.L. engine was purchased during May and, on the 27th, the local mill owners, having obtained running rights on the tramway, commenced haulage with the Harman. The three tractor units worked the branch lines and transported ballast, whilst the Harman hauled the timber to Collins Siding in rakes of eight trucks (56 tons). The weekly loading of the line for the first, second and third weeks were 54, 62 and 71 trucks respectively. info from : http://www.nmra.org.au/tyersvalley/Tyers-Tram.html Historic - Industrial Narrow gauge Railway - Timber working - Rail Tractor used by the the Forests Commission of Victoria on the Tyers Valley TramwayRail Tractor with Fordson engine coupled by a chain drive to the two axles - made of steel and wrought ironerica sawmill, puffing billy, tacl, rail tractor, tractor appliance co. ltd. (malcolm moore), industrial narrow gauge railway, tyers valley tramway, forests commission of victoria

This blanket was owned by the Rosenberg family from the late 1950s onwards. It was the donor Denise’s blanket. Born May 1958, her late mother Elfie kept it safe for many decades after Denise had outgrown it. Elfie returned the blanket to Denise 20 years ago, in its current near new condition. Jacques Rosenberg and Elfie née Naparstek, Denise’s parents, met in Melbourne in the Summer of 1950. They both survived being young and Jewish in Europe during the Second World War. Jacques grew up in France and Elfie in Germany, she was a child of the Kindertransport. They married in 1952 and by 1958 had a son and two daughters. Denise, the youngest daughter, donated the blanket on behalf of the Rosenberg family to the National Wool Museum in 2021. The Kindertransport was a program designed to facilitate the immigration of Jewish children from Nazi Germany before the outbreak of the Second World War. The United Kingdom took in nearly 10,000 predominantly Jewish children from Germany, Austria, Czechoslovakia and Poland. The children were placed in British foster homes, hostels, schools and farms. Tragically, these children were often the only members of their families to survive the tragedies that were to unfold in Europe. Fortunately, Elfie’s parents did survive World War Two by sneaking out of Germany and into the south of France. After Elfie and her sister Serry were Kindertransported, they met up with Salma and Risla Naparstek in Paris in 1947 before migrating to Australia. This blanket originates from the Eagley Mill. They manufactured woollen, worsted and knitwear products from their mill located in Collingwood. Part of Foy & Gibson, the mill had frontages measuring almost two miles within the area bounded by Little Oxford, Wellington, Stanley and Peel Streets in Collingwood. This was the largest manufacturing plant for wool in the Southern Hemisphere at the time. It was also one of the oldest. The first machines for knitting men’s socks were installed in 1896. The site ultimately went into receivership while under new ownership in 1968 and is now high-end real estate. More information about the Mill can be read via Unimelb digitised collection. https://digitised-collections.unimelb.edu.au/bitstream/handle/11343/21262/269411_UDS2010852-85.pdf?sequence=18&isAllowed=y 38”x45” (965 x 1145mm) cream wool blanket. The blanket has white stitching around its edge. Embroidered in the centre of the blanket is a koala eating leaves with accompanying flowers on either side of the marsupial. In the bottom right corner of the blanket a small square label from the Eagley Mills is stitched. This label includes the images of a Sphinx head, a pyramid and a baby’s crib.Eagley / ALL / WOOL / 38”x45” / AWARDED THE CERTIFICATE OF / THE ROYAL INSTITUTE OF / PUBLIC HEALTH & HYGIENE LONDONkindertransport, eagley mill, blanket

The artist: Marianne Louise Charlotte Amalie Wehl (19 Sept. 1867, Mt Gambier; 26 Oct. 1926, Melbourne), a flower painter who was active in South Australia and Victoria, and not to be confused with Marie Magdalene Wehl. Connection with Baron von Mueller: Von Mueller’s younger sister, Clara married Doctor Eduard Wehl and they lived in South Australia. They had 14 children, 6 of whom collected and painted botanical studies – some now in the National Herbarium, Melbourne. A cousin of Doctor Wehl – Carl Wehl – married Sophia Caroline (née Gorte) and one of their daughters was Marianne Wehl. It is recorded that von Mueller visited the Wehls and D’Altons in Halls Gap (Henrietta D'Alton was also a painter of wildflowers), so it is hard to believe that there is no influence at least. Von Mueller had over 1,400 collectors/artists working for him and 225 of them were women and children. Their work is housed in the National Herbarium, Melbourne. The donor believes that Marianne contributed to this work. There is no record of that, however, as only 169 of the artists have been identified, it may be a possibility. Marianne was one of six children of Carl Jakob Wilhelm Wehl (1830–1899) and Sophia Caroline Wehl (née Gorte) (1843–1920). She never married. https://data.environment.sa.gov.au/Content/Publications/JABG34P001_Dowe.pdf The plants: All of the plants painted by Marianne Wehl's in this donation were identified by Botanist Neil Marriott & Wendy Marriott, in July 2022. Neil Marriott said that the quality and beauty of these botanical studies made it easy for them to identify all the plants. He suggested they may be some of the first paintings of Grampians wildflowers. This makes the paintings highly important scientifically and botanically. Visitors to WAMA will be able to compare them with today’s plants in the Endemic Garden. Neil marvelled that Marianne found the specimens, as some of them are endemic and found only in the highest parts of the Grampians (Mt Rosea, Mt William and Major Mitchell Plateau) and are listed as rare and endangered. Some of these same rare plants have now been propagated by the WAMA team and in winter 2022 were planted in WAMA's Endemic Garden. Neil identifies this plant as Epacris impressa - Common Heath - white flower form. Common and widespread. NB In some records she is called Marianna (as the donor calls her) and in others Marianne.Wildflower art, Wildlife artGift of Barbara Crick in memory of Marjorie and Lachlan McLennanPainting of white heath spray, on brown paperLL ' MW' (underlined)wildflowers, flowers, marianne wehl, marianna wehl, flower painter, botany, works on paper, baron von mueller, von mueller, henrietta d'alton, wama, wildlife art, painter, goache, halls gap, wildlife art museum australia