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Flagstaff Hill Maritime Museum and Village
Ceramic - Serving Dish, J & G Meakin, 1880 to 1900
J & G Meakin was an English pottery manufacturing company founded in 1851 and based in Hanley, Stoke-on-Trent, Staffordshire. In the 19th century, J & G Meakin was known for the vast quantities of cheap ironstone china it produced for the domestic English market and export to Australia, Canada, New Zealand, and the United States and one of these pottery lines was called "EMPRESS" and was in production through the 1930s. From around 1970, designs included Liberty, Sterling, Trend, Classic, and Heirloom. Some of these were influenced by earlier designs. The newer wares can be distinguished by back stamp markings such as 'permanent colours', 'everlasting colour', or 'dishwasher proof'. J & G Meakin had close family and corporate affiliations to the potteries Johnson Brothers, and Alfred Meakin Ltd, which explains why many patterns are similar, if not almost the same. There was a takeover by J. & G. Meakin in 1968 of Midwinter Pottery. The firm was then taken over by the Wedgwood Group in 1970. In 2000 production under the Meakin name ceased and their long-established works, Eagle Pottery, was then used for the production of Johnson Bros pottery. Eagle Pottery closed in 2004 when production was transferred abroad; the works were demolished in 2005.Item is significant as today the "EMPRESS" china pattern from the 1930s by Meakin is today a collectable item and a good example of the Meakin range of china.Serving vegetable bowl with two handles on either end, plus a lid with a handle on the top lid also has a pattern around the edge.Inscription to base "J & G Meakin Manley England " warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, alfred meakin, staffordshire potteries, iron stone pottery, serving dish -
Federation University Historical Collection
Book, New York Post, The School of Mine Quarterly: A Journal of Applied Science, 1889-1809
The School of Mines Quarterly was a jpournal of Applied Science from Columbia College, New York City.The Index to the School of Mines Quarterlu Volumes X1-XX (1900) and 32 green covered journals school of mines, new york, columbia college, schools of mines, columbia school of mines, witwatersrand goldfield, inter-continental railway, mine ropes, harbor improvememnts on the pacific coast, glycerine and artificial butter industry, transit factors for teh columbia college observatory, tables for the reducation of transit observations, ancienct methods for dividing and recoording time in japan, assay of tin, john strong newberry, standards of linnear measure, comparison of costs of electric lighting, huanchaca mine bolivia, el callao gold mine venezuela, john magnus adams, ores in saxony, hartz and rhenish prussia, hofmann apparatus, adjustment of trangulation, determination of carbonic acid in white lead, lower coals in western clearfield county pennsylvania, old telegraph mine ningham canon utah, mechanical preparation of ores, modern waterworks construction, curdling of milk, french regenerative gas furnace, irrication canals, peruvian salt mine, collection of metallurgic dust and fume, permeability of iron and steel, assay of silver, explosion in a zinc fume condenser, teaching archtectural history, liquid air, between the mine and the smelter, ballistic galvonometer, assay of telluride ores, analytical chemistry, theory and design of the masonry arch, silver pick mine wilson colorado, telegraphy and telephoney, mineralogy, morse code, michigan mining practices, titaniferous magnetites, paradox of the pantheon, rocks from wyoming, witwatersrand goldfields, gaseous sun, alternating current distribution, engineering tests on direct current electrical machinery, thomas egleston, ore dressing, frederick morgan watson, camp bird gold mine and mills, magnetic properties of iron and steel, morphology of organic compounds, antimony, structure of the starch molecule, cerrillos hills new mexico, geology, rossie lead veins, practical electrochemistry, lines of graphic statics, anistic acid by the ozidation of anniseed oil, bromate method for antimony, john krom rees, trust company of america building, helion lamp, frederick arthur goetze, mine surveying, pine wood oils, malleable cast iron, electrolytic treatment of galena, turpentine and pine oils, bluestone, ashokan dam bluestone, road resistances, oxy-gas blowtorch, mine dumps, segregation of steel ingots, masonry dam formulas, putnam county magnetic belts, gases, continuity of education, hydraulic diagrams, standardistion of potassium permanganate, sewerage discharge into sea water, modern waterworks, true column formula, slags from lead furnaces, missouri river, tempreture of gases, rocks, architectural history, modern dome, oil machine, undulations in railway tracks, irrigation engineering, cleps-tachymeters, electrical engineering, new york shales, fan pump, sucrose, isaac newton, french school of anstronomers, electrolytic polarization, benjamin bowden lawrence, diamond drilling, new york ciy water front, engineering profession ethics -
Federation University Historical Collection
Booklet, Berry Anderson & Co, Ballarat School of Mines Student's Magazine, Fourth Term, 1907
Table of contents: Editorial, A motor problem, Electricity in mining, The wet assay of tin, Sintering slimes at the Broken Hill Pty Works, Smokeless cities, An unusual process for the treatment of concentrates, Diamond drilling, E. M. Weston, Recent advancements in the treatment of slimes from the reduction of gold bearing ores, Norman Stuckey, W. T. Cronow, The gold miner and the prospector, Cornish mining, A trip to the North-East, New Zealand coal, Rich mine water, Making standard solution of alkalies, Notes on the refining of base bullion, Pipe lines for corrosive liquors, Electro-galvanising, Ankylostomiasis or earth eating disease, News and notes, Method of preparing blue paper, Past students, Correspondence, Answers to correspondents, Magazine balance sheet, Editorial notices.Peach coloured booklet of 28 pages.Signed on front cover by Les? M. Deaneballarat school of mines, students' magazine, oliver wendell holmes, a. e. c. kerr, t. w. gronow, norman stuckey, e, m. weston, j. h. collins, s. b. vial,, t. w. hood, o. e. jager, hubert krause, s. j. lindsay, fred nettle, a. w. parramore, e. prendergast, basil a. reid, g. m. roberts, h. c. valentine, r. vaughan,, w. j. lakeland, d. scott, dave thomas, a. d. turner, tom williams, w. b. tucker, percy millar, o. c. witherden, john adam, h. f. denny, g. a. denny,, w. a. gosman, hilary dowling, d. m. deane, cecil eeles, j. o'farrell, t. f. fleetwood, miles a. gabriel, a. a. gibson, t. j. andrews, t. brennan, j. a. reid. -
Warrnambool and District Historical Society Inc.
Book, Ledger - Trust Account, Early 20th century
This Trust Accounts ledger belonged to the law firm of Mackay and Taylor of Kepler Street, Warrnambool. The law firms of George Mackay and James Fletcher merged in 1893 to form Fletcher and Mackay and in the early 1920s J. Taylor became the new partner with Mackay to form the legal practice of Mackay and Taylor. This firm continued in Kepler Street until the 1990s. George Mackay was a prominent resident of Warrnambool from 1891 to his death in 1926. The Trust Accounts ledger lists the accounts of several organizations such as the Ancient Order of Foresters, the accounts of deceased estates and accounts of individual residents of Warrnambool and district. The dates covered are from 1919 to 1923. The accounts appear to refer to an investment and banking society operated by Mackay and Taylor.The ledger has some significance as it contains information on the financial dealings of many well-known Warrnambool people and organizations. It has social significance as it shows the type of investment opportunities available to Warrnambool people in the first two decades of the 20th century. This is a foolscap-size bound book of 526 pages. The covers are of blue hard cardboard with buff-coloured spine and corners. The inside thick paper covers are of a blue and red mottled design. There are pages with alphabetical tabs at the start of the book. The pages are printed with red ruled lines for accounting purposes. The entries are in black ink. Spine – ‘Ledger’, ‘1919 to Dec. 1923’ Front Cover- ‘Trust Account’ mackay taylor legal firm, warrnambool -
Warrnambool and District Historical Society Inc.
Book, The two new girls - Betty Marchant, 1927 ( date of first edition)
This book, written for girls by the English novelist, Bessie Marchant, was given as a prize to Claire Gilbert. She was the daughter of Roy and Miriam Gilbert and lived in Coulstock Street. Her father worked at Swintons Store in Warrnambool. She would have been at school in the 1940s. She married a farmer, Ainslie Crothers. It is presumed that ‘Y.W.L’ stands for ‘Young Women’s League’, but no Warrnambool group with this name has been found (apart from a Young Women’s Association run by the Presbyterian Church in the 1920s). This book is of interest as it belonged to a local girl, Claire Gilbert, at school in the 1940s. This is a hard cover book of 152 pages with 16 pages at the back giving information on other books published by the same company. The cover is green with the title information enclosed in dark red text boxes with green printing. The spine has red printing with red lines and squares for ornamentation. The inscription is handwritten in black ink on a printed book plate pasted onto the first page. There is a colour plate at the beginning of the story. ‘2nd prize Awarded to Claire Gilbert, Y.W.L., Warrnambool’ claire gilbert, yung women’s league, history of warrnambool -
Bendigo Military Museum
Book - BOOK, NEW TESTAMENT OF BIBLE, British & Foreign Bible Society, 1940
Translated from the Original - revised by his British Majesty in 1611.Pocket sized edition. The cover is a light brown buckram. The book has 384 pages.The "book" index has a few lines drawn under various "books".ww2, christianity -
Eltham District Historical Society Inc
Negative - Photograph, Construction of the new concrete bridge over the Diamond Creek on Main Road, Eltham, c.May 1926
Construction of the new concrete bridge over the Diamond Creek on Main Road, Eltham, c.May 1926. Viewed from northern approach looking south east towards Eltham Park (Eltham Lower Park), showing the power lines that used to run in front of the park. The original long suspension bridge over the Diamond Creek on Main Road at Eltham collapsed during flooding of the Diamond Creek on October 13 and 14, 1923. The original bridge was built around 1840 for the coach road when Cobb & Co.'s coach was the only conveyance between Eltham and Melbourne. Widespread damage was done in Melbourne and surrounding areas by floods resulting from the overflow of the Yarra at many points along its banks. A temporary bridge rigged up was severely damaged by the flooding of the creek and was closed to vehicular traffic in April 1924. A new concrete bridge was constructed to replace it and by May 1926 all the concrete piles and abutments had been completed. The bridge was finally completed and opened for traffic in September 1926, almost three years after it initially collapsed.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 '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 Negshire of eltham pioneers photograph collection, bridge, bridge construction, cement mixer, diamond creek (creek), eltham, eltham lower park, eltham south, main road bridge -
Eltham District Historical Society Inc
Photograph, Eltham - The first Post Office at Eltham, c.1875
Copy of newspaper article (Jan. 1958): "Out of the Past" "The first post office at Eltham as it appeared in the eighties (sic). This photo was in the possession of the Burgoyne family, whose association with the Postal Department ended yesterday when the new post office was opened." The article indicates the photo is from the 1880s however it actually pre-dates the connection of the Electric Telegraph line in 1877 - most likely early 1870s. The Telegraph Office was opened Thursday, June 7, 1877 and the lines were connected to the building above the awning near where the lower corner of the large sign is. A similar image of the building dated circa 1888 (EDHS_00139) shows the telegraph line connection. The awning has also been updated with corrugated iron in lieu of bark shingles and the false facade above the awning removed. It is possible these modifications were made to the building at the time of the telegraph line connection. 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 '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 imagesepp, shire of eltham pioneers photograph collection, eltham, post office -
Queenscliffe Maritime Museum
Painting - MV Oranje, Dacre Smyth
In February 1951, the Oranje made her first around the world cruise: from Amsterdam via the Panama Canal to Australia and New Zealand and back via Singapore and the Suez Canal to Amsterdam. Between 8 and 18 June 1951, she voyaged to Lisbon and Madeira with 650 passengers. On 4 September 1964, both she and the MS Willem Ruys were sold to an Italian company, Flotta Lauro Lines. Oranje was then sent to Genoa for an extensive refit at the Cantieri Navali del Tirreno shipyards. On 6 March 1966 the Angelina Lauro departed on her maiden voyage from Bremerhaven to Fremantle, Melbourne and Sydney. In 1941 the Netherlands Government offered to the Governments of Australia and New Zealand the MV Oranje, a ship of 22,000 tons, for use as a hospital ship to convey Australian and New Zealand sick and wounded from the Middle East. This offer was gladly accepted by the two governments.A framed oil painting of the migrant ship 'Oranje'Oranjemv oranje, mv angelina lauro, migrant ships -
Queenscliffe Maritime Museum
Painting - Mariposa, Dacre Smyth, SS Mariposa
SS Mariposa was a luxury ocean liner launched in 1931, one of four ships in the Matson Lines "White Fleet", which included SS Monterey, SS Malolo, and SS Lurline. She was later renamed SS Homeric. Mariposa was designed for service in the Pacific Ocean, including regular stops in ports along the West Coast of the United States, Hawaii, Samoa, Fiji, New Zealand, and Australia. On the 12th January 1942 the Mariposa left San Francisco in the "Australian — Suva" convoy escorted by two destroyers and the light cruiser and with two other troopships (destined for Suva). This was the first large convoy to Australia after Pearl Harbor with Mariposa transporting Army personnel, ammunition and fifty P-40 fighters intended for the Philippines and Java.Mrs B SmythAn oil painting of the SS Mariposa in an ornate gold frame. Mariposamigrant ships, ss mariposa, wwii -
Queenscliffe Maritime Museum
Booklet - Illustrated History, The New Mauretania; Fulfilment of a Great Enterprise, 1938
RMS Mauretania was launched on 28 July 1938 at the Cammell Laird yard in Birkenhead, England and was completed in May 1939. The second Mauretania was the first ship built for the newly formed Cunard White Star company following the merger in April 1934 of the Cunard and White Star lines. A booklet illustrating the history of construction through to the launch of the passenger liner Mauretania in 1938rms mauretania, troop transport, passenger liner, cunard, white star -
Otway Districts Historical Society
Book, Puffing Billy Preservation Society, G42: Puffing Billy's Big Brother, 1981
Victoria's narrow gauge railways were from Wangaratta to Whitfield (covering 30.5 miles/49 km) opening in 1899, Colac to Beech Forest (29 miles/46.7 km) opening in 1902 with an addition to Crowes (14.1 miles/22.7 km) opening in 1910, Upper Ferntree Gully to Gembrook (18.2 miles/29.3 km) opening in 1900, and Moe to Walhalla (26 miles/41.3 km) opening in 1910. From the outset these narrow gauge lines proved very uneconomical in operation and were plagued with continuing financial losses. The lines most difficult to work were those carrying the most business, and in particular the trains from Colac and Moe with their 1 in 30 grades and countless curves precluded having engines with large coupled driving wheels operating. Having examined the possible use of articulated locomotives to reduce operating costs on the narrow gauge lines the Victorian Railways decided upon the Beyer-Garratt type of locomotive in 1925 and an order was placed in England for two engines of the 2-6-0 plus 0-6-2 wheel arrangements. These arrived in April 1926. Assembly of the new Garratts was duly completed and steaming trials carried out at Newport, Victoria, the engines being classed as "G" and given the running numbers "41" and "42". G41 was taken to Colac where, on 5 June 1926, it was put to work on the Colac-Beech Forest-Crowes line. G42 soon followed and duly began work on the equally steep and tortuous but shorter Moe-Walhalla line. Following the closure of the Moe line in 1955 G42 was refurbished and went to Colac. G41 was overhauled, but not as thoroughly as G42, at then returned to Colac where both Garratts shared regular work on the line until its closure in 1962. From 1978 G42 continues its operation on the Upper Ferntree Gully-Gembrook line as part of the Puffing Billy Preservation Society.G42: Puffing Billy's Big Brother. Pictorial history of a Beyer-Garratt in Victoria, Australia. Phil A'Vard, Larry James, Ron Peach (concept). Puffing Billy Preservation Society; Belgrave (Vic); 1980. 64 p.; illus; map. Soft cover. ISBN 0 9598392 7 5victorian railways; narrow gauge; moe; walhalla; colac; beech forest; crowes; upper ferntree gully; gembrook; beyer-garratt; -
Eltham District Historical Society Inc
Photograph, Construction of the new concrete bridge over the Diamond Creek on Main Road, Eltham, c.May 1926
Construction of the new concrete bridge over the Diamond Creek on Main Road, Eltham, c.May 1926. Viewed from northern approach looking east, the access drive running off Antoinette Boulevard parallel to Main Road is visible as well as the power lines that used to run in front of Eltham Park (Eltham Lower Park). Also visible is a tree situated beside the roadway. It is believed this is the same tree that remains today as a dead tree trunk immediately adjacent to the road verge armco near the corner of Antoinette Boulevard. The original long suspension bridge over the Diamond Creek on Main Road at Eltham collapsed during flooding of the Diamond Creek on October 13 and 14, 1923. The original bridge was built around 1840 for the coach road when Cobb & Co.'s coach was the only conveyance between Eltham and Melbourne. Widespread damage was done in Melbourne and surrounding areas by floods resulting from the overflow of the Yarra at many points along its banks. A temporary bridge rigged up was severely damaged by the flooding of the creek and was closed to vehicular traffic in April 1924. A new concrete bridge was constructed to replace it and by May 1926 all the concrete piles and abutments had been completed. The bridge was finally completed and opened for traffic in September 1926, almost three years after it initially collapsed.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 '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.Photo print 9 x 12.5 cmshire of eltham pioneers photograph collection, eltham, bridge, diamond creek (creek), eltham south, main road bridge, wingrove park, antoinette boulevard, significant tree, cement mixer, bridge construction -
Eltham District Historical Society Inc
Newspaper, Diamond Valley Mirror, Tuesday, August 31, 1965
Includes Newspaper article on page three "Living Memorial Is Trust's Gift To A Shire" a second clipping of which is also attached to cardboard for display purposes. Article includes text and photographs. Living Memorial is Trust's Gift To A Shire Bathed in bright sunshine and now at its best, the Memorial Garden of the Eltham War Memorial provided a perfect setting for the handing over of the Memorial to the people of Eltham last Saturday afternoon. Speaking for the War Memorial Trust, Mr E. P. Harmer, chairman paid tribute to the unselfishh service given by its members , some for more than 20 years. Special tribute was paid to the late Mrs Ada Lyon, a foundation member who, Mr Harmer said, made the Trust her life. A memorial plaque to Mrs Lyon was unveiled by foundation members Mr N. Kerr. Facilities. An infant welfare centre, a pre-school cente and a children's library are built within the memorial. Funds for the buildings were raised by the Trust and theh women's auxiliary. Accepting the Memorial on behalf of the people of the Shire, the Shire President, Cr. L. C. Docksey, assessed the value at beyond £50,000. To make the transaction legal, Cr. Docksey paid the sum of £1 to the Trust. Many foundation members of the Trust and councillors of the Shire were among the official guests. The Shire of Eltham Brass Band provided suitable background music for the ceremony and at. (remaining part of article is missing) Photo: Mrs C RAINS signs the agreement on behalf of the Eltham War Memorial Trust, transferring the Memorial to the Shire of Eltham, as Mr L. Virgo, secretary of the Trust, affixes the seal and Mr. E. P. Harmer, chairman, accepts payment of £1 from Cr. L. C. Docksey, Shire President. In the background are Mrs Harmer, Cr. T. Collins and Mr S. Addison. Accepting the Memorial on behalf of the people of the Shire was Cr. Docksey's last official duty as President. Separate article on the clipping includes the heading: President Rests in Comfort with a photograph and text: A Tribute to Cr. A. K.Lines, first President of the Shire of Diamond Valley, was paid by fellow councilors last Tuesday night. Acting on behalf of all members of the council, Cr. George Upton, in presenting Cr Lines with an armchair, expressed gratitude for his guidance and assistance to the new shire. Newspaper, 12 pages with four holes punched through near centre margin.eltham war memorial building,eltham war memorial trust,eltham pre-school,e. p. harmer,mrs ada lyon,mrs n. kerr,cr. l. c. docksey,shire of eltham brass band,cr. a. k. lines,diamond valley mirror,1965,cr t. collins,mr. s. addison -
Eltham District Historical Society Inc
Slide, Maroondah Aqueduct, Research, Victoria, 22 Mar. 1981
This view shows the area that would develop into the Research Industrial Estate. In centre distance though largely hidden by trees is the site of the Research Hall, which was later demolished and a new Eltham Little Theatre constructed in 1988 as a bicentennial project. The hills in the distance near the power lines now a housing estate.35 mm colour positive transparency (1 of 5) Mount - Agfachrome Agfa CS System black 8 dotsactivities, heritage excursion, maroondah aqueduct, research (vic.), shire of eltham historical society -
Port Melbourne Historical & Preservation Society
Photograph - Extension of Beach Street, Port Melbourne across railway lines, Ron Laing, c. 1996
Part of Ron Laing's collection of photographs recording Port Melbourne over a thirteen year period. Donated to the PMH&PS by the photographer.A colour photograph of the extension of the new Beach St across the railway lines.transport - railways, built environment - domestic, beacon cove, ron laing -
Monbulk RSL Sub Branch
Book, George Pemberton, Vietnam remembered, 2009
... from both the homefront and the front lines. George Pemberton ...This book assesses what the Vietnam War meant - on the battlefield and in Australia. Includes the names of all those who served and images from both the homefront and the front lines.Ill, notes, p.308.non-fictionThis book assesses what the Vietnam War meant - on the battlefield and in Australia. Includes the names of all those who served and images from both the homefront and the front lines.vietnam war 1961-1975, australia - politics and government - 1961-1975 -
Yarra Ranges Regional Museum
Cigarette Case
Cigerette case given by Dame Nellie Melba to John Charles Hughes. Mr Hughes was responsibile for maintaining and tuning her piano while on tour in the USA and AustraliaJohn Charles Hughes was born in 1882 of Scotish- Irish ancestry . He was a graduate of the New England Conservatory od Boston where he studied classical music and piano. In 1926 John Charles Hughes' wife died of cancer leaving a daughter Dorothy (who is the wife of the donor). He was unable to continue his work after the death of his wife and after a bout of alcoholism disappeared and was never seen again. Silver cigarette case with textured horizontal lines on outside surface and engraved monogram in centre. Hinged lid and clasp at one end. Interior has flat metal bar attached at one end to keep cigarettes in place, and 'From Nellie Melba 1913-1914' engraved across surface underneath bar.(Engraved) From Nellie Melba 1913 - 1914 dame nellie melba, cigarette case, john charles hughes -
Monbulk RSL Sub Branch
Book, Allen & Unwin, The guns of Muschu, 2006
During the night of 11 April 1945, eight Australian Z Special commandos landed on Japanese-held Muschu Island, off the coast of New Guinea. Their mission was to reconnoitre the island's defences and confirm the location of two concealed naval guns that commanded the approaches to Wewak Harbour. But the secret mission went horribly wrong. Unknown to them, their presence had been discovered within hours of their landing. With no means of escape, the island became a killing ground. Nine days later, on the New Guinea mainland, the only survivor staggered back through the Japanese lines to safety... This is the remarkable true story of that survivor.Maps, p.255.non-fictionDuring the night of 11 April 1945, eight Australian Z Special commandos landed on Japanese-held Muschu Island, off the coast of New Guinea. Their mission was to reconnoitre the island's defences and confirm the location of two concealed naval guns that commanded the approaches to Wewak Harbour. But the secret mission went horribly wrong. Unknown to them, their presence had been discovered within hours of their landing. With no means of escape, the island became a killing ground. Nine days later, on the New Guinea mainland, the only survivor staggered back through the Japanese lines to safety... This is the remarkable true story of that survivor. world war 1939 – 1945 – campaigns – papua new guinea, world war 1939 – 1945 – personal narratives – australia -
Monbulk RSL Sub Branch
Book, Affirm Press, Sons of war : astonishing stories of under-age Australian soldiers who fought in the Second World War, 2022
In the Second World War, thousands of Australian boys lied about their age and volunteered for a war the scale of which they could never have imagined. Like many of their fathers in the Great War, they went with their eyes wide shut: under-trained, under-equipped and under-age. Some were as young as thirteen - too young even to shave. Many did not grow old; others came back broken. A handful are still alive to tell their tales. This extraordinary book captures the bold and untold stories of forty Australian children who fought in the deadliest war in history. Follow these boys through Libya and Palestine, Greece and Crete, to the jungles of Malaya, Papua New Guinea and Borneo, fighting for their lives, their country, their mates. Many of the photographs have never been seen. Haunting images of youths in training camps and behind the lines stand beside moving portraits of old men who have not forgotten.Index, ill, ,maps, p.380.non-fictionIn the Second World War, thousands of Australian boys lied about their age and volunteered for a war the scale of which they could never have imagined. Like many of their fathers in the Great War, they went with their eyes wide shut: under-trained, under-equipped and under-age. Some were as young as thirteen - too young even to shave. Many did not grow old; others came back broken. A handful are still alive to tell their tales. This extraordinary book captures the bold and untold stories of forty Australian children who fought in the deadliest war in history. Follow these boys through Libya and Palestine, Greece and Crete, to the jungles of Malaya, Papua New Guinea and Borneo, fighting for their lives, their country, their mates. Many of the photographs have never been seen. Haunting images of youths in training camps and behind the lines stand beside moving portraits of old men who have not forgotten.world war 1939-1945 - australia - under age soldiers, world war 1939-1945 - personal narratives - australia -
The Ed Muirhead Physics Museum
Rowland Diffraction Grating & Goniometer, Kirkpatrick & Co., London, ?1930s
Speculum metal blanks made by John H. Brashear(1840-1920) from John Hopkins University in Baltimore, Diffraction Grating made by Prof. H.A. Rowland, [School of Physics, University of Melbourne.] No known publications using the Eagle mounting. May have been used exclusively for practical work in Physics III.Diffraction grating of 14,437 lines/inch x 3 1/4 inch. Set in goniometer. “The grating is a ruling of 14,437 lines/inch by Rowland, on a concave spherical speculum mirror of 4-1/2 inch aperture and 10 ft radius. First order dispersion is 5.5 A per mm.” (see RTW Bigham: ‘Concave Roland Grating: Eagle Mounting” in ‘Inspection of New Wing’; Appendix B5 , Vol 2 of Laby :CollectedPapers. The remnants of the Eagle Mounting, featuring a 4 inch tube x 10 ft long, presently uncatalogued, lies on the roof of a display cabinet in the PSB basement open cage-store.Kirkpatrick & Co., Londondiffraction grating, rowland & goniometer -
Ithacan Historical Society
Postcard, SS Queen Frederica, 1957
The ocean liner 'SS Queen Frederica', owned by the Greek shipping company Chandris Lines during the 1960s and 1970s, carried many Greek emigrants from their homeland to other countries across the world. A coloured post card of the liner 'Queen Fredirica' in full sail entering New York harbour with the Statue of Liberty in the background.QUEEN FREDERICA/ 21.000 -
Geoffrey Kaye Museum of Anaesthetic History
EMO (Epstein, Macintosh, Oxford) Ether Inhaler & Vaporiser
The Epstein, Macintosh, Oxford vaporizer (EMO) was designed in 1952 by Dr H. G. Epstein and Sir Robert Macintosh of the Nuffield Department of Anaesthetics at the University of Oxford, with the aid of their technician, Mr Richard Salt. It was essentially a refinement of their earlier Oxford vaporizer and designed specifically to deliver ether in known concentrations, irrespective of the temperature of the ether. Robert Macintosh was born at Timaru New Zealand in 1897. In December 1915 he travelled to Britain and was commissioned in the Royal Scots Fusiliers, soon transferring to the Royal Flying Corps. He was shot down behind enemy lines on 26 May 1917 and taken prisoner, escaping several times. When the war ended he returned to medical school and qualified in 1924 as MRCS LRCP. Macintosh's initial intention was to be a surgeon, but soon after qualifying he developed an interest in the field of anaesthesia. Macintosh became the first professor of anaesthetics at Oxford although the university was at first against the appointment. He recruited the scientists Dr Kurt Mendelssohn and Dr H G Epstein and together they designed and built the Oxford vaporiser, a simple, portable, and accurate means of delivering varying concentrations of ether which was to see service in the second world war. He was knighted in 1955 and died at Oxford in 1989.The apparatus is a round, barrel style object with three small rubber feet and a moulded handle over the top. It consists of a vaporising chamber, wick, ether level indicator, temperature compensating value, air bypass chamber and mixing chamber. Manufacturer's label on reverse: EMO, Longworth Scientific Inst. Co. Ltd. England. Serial No. 5878macintosh, epstein, oxford, vaporiser, nuffield, ether -
Ararat Gallery TAMA
Textile, Frances Burke, Goanna, c. early 1950s
Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs. -
Ararat Gallery TAMA
Textile, Frances Burke, Mosaic, c. 1962
Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs. -
Ararat Gallery TAMA
Textile, Frances Burke, Tiger Stripe, c. 1939
Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs. -
Ararat Gallery TAMA
Textile, Frances Burke, Crete, 1948
Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs. -
Ararat Gallery TAMA
Textile, Frances Burke, Plum Blossom, 1948
Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs. -
Ararat Gallery TAMA
Textile, Frances Burke, Jungle, 1945
Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs. -
Ararat Gallery TAMA
Textile, Frances Burke, Harlequin, c. late 1950s
Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs.