The photograph is taken in a Hospital Physiotherapy Department. Anne Radford is the Physiotherapist at the Hospital and is teaching RDNS Liaison, Sister Short, the transfer technique required when transferring a patient who will be discharged home. This knowledge will be given to the RDNS Sister who will be attending to the patient in her home when she is discharged.Liaison had occurred between Doctors and the Trained nurses of the Melbourne District Nursing Society (MDNS), from its inception in 1885. This increased when Midwifery was introduced in 1893 with close liaising with the Women’s Hospital. As District nursing grew it was recognized that closer liaising between many Public Hospitals would be beneficial, for not only the MDNS, later called Royal District Nursing Service (RDNS), nursing staff, but also for the patients and the hospitals. In August 1964 a Liaison Officer commenced at the Alfred Hospital. This soon increased to Liaison Officers working full time at several Public Hospitals. They facilitated the smooth transition from hospital to home for many clients that required ongoing nursing care. Liaison Sisters regularly attended discharge planning meetings, interviewed prospective clients, co-ordinated discharge and booked the first visit by the visiting RDNS staff. At the time of a patient’s discharge, the Liaison Sister forwarded information on their diagnosis and instructions regarding the care required at home to the appropriate RDNS Centre, and in turn the attending District Sister wrote a report of progress and any queries to the hospital doctor, via the Liaison Sister, at the time the patient was attending outpatients. Any new instructions were then sent back to the District Sister. Liaising also occurred between District Sisters in the field and Doctors when patients were referred by General Practitioners and did not attend a hospital. RDNS also held Physiotherapy workshops for staff teaching safe transferring techniques. The Physiotherapist would visit the home of a patient with the attending Sister when required.On the left of the black and white photograph is Royal District Nursing Service (RDNS), Liaison, Sister Margaret Short, and to her right is hospital Physiotherapist, Anne Radford, who is smiling at the patient. She has short dark hair and is wearing a white hospital coat. She is kneeling on a physiotherapy table behind, and assisting, a young patient to transfer. Sister Short, who has short dark hair and is wearing her RDNS, grey short sleeve uniform with the RDNS insignia seen at the top of the sleeve, and her grey peaked hat, is slightly bent over the physiotherapy table with her arms under the legs of the young patient.. The Physiotherapist has her hands under the patient's armpits. The patient, who has dark short hair and is wearing a long sleeve white top and check slacks, has her forearms through a transfer ring which is hanging from a thick rope. Her buttocks are just touching the dark covered physiotherapy table and the Sister is supporting her legs which are slightly raised off the table.. A row of crutches can be seen in the left rear of the photograph and a bar with some equipment hanging on it can be seen on the right rear behind the physiotherapy table..Photographer stamp. Handwritten information.royal district nursing service, rdns, rdns liaison, rdns uniform, sister margaret short, ms anne radford

The St Dunstans braille writer was modelled on the German Picht model, which enabled the writer to read what was written immediately by place the embossed character upwards of the carriage. Named after the organisation, it used a different finger technique than the Stainsby-Wayne machine that was predominantly available, and was lighter to carry.Black and silver Braille typewriter, with six keys and a large key (space bar) in front. At the back of the keys is a roller arrangement (similar to a typewriter) where paper is placed.St Dunstans Mark II. Ser. No. 575braille equipment, assistive devices

This photograph is taken in a room in the RDNS Heidelberg Centre. The Sisters are demonstrating a lifting technique to staff members. The Sisters are wearing their RDNS winter uniforms which are a blue/grey skivvie under a blue/grey V neck tunic style herringbone winter material dress with the RDNS insignia on the upper left. From the founding of the Melbourne District Nursing Society (MDNS) in 1885, known as Royal District Nursing Service (RDNS) from 1966, the rehabilitation of patients to insure they were able to live independently in their own homes was at the forefront of care given by their Trained nurses. As well as teaching and supervising the use of equipment, their Trained nurses taught them safe transfer techniques. These techniques were also taught to family members to enable them to care for their loved ones. RDNS at first held workshops given by a contracted private Physiotherapist, before employing their own Physiotherapist in 1975, who taught staff the correct transfer techniques, not only for safety of the patient, but to reduce physical strain on RDNS nursing staff and patient’s family members. When required the Physiotherapist accompanied the Sister on her visit to the patient in their home.Black and white photograph of three Royal District Nursing Service (RDNS) Sisters demonstrating a safe bed transfer. From Left to Right is the side on view of Sisters Daphne Geldard, who has short dark curled hair with her left arm around the back of Sister Elizabeth Francis, and her right arm under her legs. Sister Francis has short dark hair and is smiling. She has her right arm over the shoulders of Sr. Geldard, and her left arm is over the shoulder of Sr. Bev Armstrong. Her buttocks are slightly off the bed which has a white pillow and grey blanket. Sr. Armstrong is facing both Sisters. She has short straight blonde hair and has her eyes closed. She has her right arm around the back of Sr. Frances and her left arm is under her legs. The three Sisters are wearing light coloured skivvies under a darker V neck tunic style dress with the RDNS insignia on the upper left. Barry Sutton's Photographer's Stamp. Reprint Quote Number: KY22 Handwritten on back of photo are the names of the RDNS staff members and the location is Heidelberg Centrerdns, royal district nursing service, rdns uniform, rdns physiotherapist, rdns centre, sister daphne geldard, sister elizabeth francis, sister bev armstrong

When the Harcourt Valley was the subject of route selection /environmental effects survey in connection with the upgrade of the Calder Highway into Freeway the Harcourt Valley Heritage Committee enumerated and researched the unique collection of granite homes to be found in the valley. The publication gives a short account of the builders and illustrates the various techniques of building in stone. Advocacy by the Harcourt Valley Heritage Committee ensured the retention, in the face of demolition threat, of a unique collection of homes, many owner-built and of vernacular architecture. A4 size book of 42 pages with full colour ilustrationsGranite Houses of Harcourt & Faraday

Purchased by Mr. & Mrs. H. N. Lord in 1970.Purchased by Mr. & Mrs. H. N. Lord in 1970. Cloisonné, a French word meaning "enclosed", is a metal-working technique. It is an ancient technique for decorating metalwork objects. The resulting objects can also be called cloisonné. The decoration is formed by first adding compartments or cells to the metal object. This is done by soldering or sticking silver or gold wires or thin strips placed on edge. These are visible in the finished piece, separating the different compartments. Coloured enamel is the usual filling for the cells. Cloisonné enamel objects are worked on with enamel powder made into a paste, which then is fired in a kiln. In older times inlays of cut gemstones were often used. They were decorated with geometric or schematic designs, with thick cloison walls. ICloisonne Chinese bowl. Large brown with blue and yellow floral design on a carved wooden base.bowls

Purchased by Mr. & Mrs. H.N. Lord in 1970. Purchased by Mr. & Mrs. H. N. Lord in 1970. Cloisonné, a French word meaning "enclosed", is a metal-working technique. It is an ancient technique for decorating metalwork objects. The resulting objects can also be called cloisonné. The decoration is formed by first adding compartments or cells to the metal object. This is done by soldering or sticking silver or gold wires or thin strips placed on edge. These are visible in the finished piece, separating the different compartments. Coloured enamel is the usual filling for the cells. Cloisonné enamel objects are worked on with enamel powder made into a paste, which then is fired in a kiln. In older times inlays of cut gemstones were often used. They were decorated with geometric or schematic designs, with thick cloison walls. IOrnamental miniature Chinese cloisonne vase. Has floral patterned design.vases

Purchased by Mr. & Mrs. H. N. Lord in 1970. Purchased by Mr. & Mrs. H. N. Lord in 1970. Cloisonné, a French word meaning "enclosed", is a metal-working technique. It is an ancient technique for decorating metalwork objects. The resulting objects can also be called cloisonné. The decoration is formed by first adding compartments or cells to the metal object. This is done by soldering or sticking silver or gold wires or thin strips placed on edge. These are visible in the finished piece, separating the different compartments. Coloured enamel is the usual filling for the cells. Cloisonné enamel objects are worked on with enamel powder made into a paste, which then is fired in a kiln. In older times inlays of cut gemstones were often used. They were decorated with geometric or schematic designs, with thick cloison walls. IBlue and gold patterned Chinese Cloisonne bowl with lid, with gold lion on top.bowls

This photograph was taken on Friday the 27th of August 2004 as part of an event called 'Direct Seeding Expo'. This event was one of many held by the Wooragee Landcare Group in the early 2000s which aimed to educate the local community on certain agricultural and biodiversity conservative techniques. This particular photograph shows attendees at the property of Neil and Anne Nankervis, inspecting sites where direct seeding had been used ten months earlier. Three different direct seeding techniques were demonstrated during the day by several experts in the field. Direct seeding involves the sowing of seeds directly into the soil to achieve germination and establishment. It is an alternative to planting seedlings in a contained nursery plot. This direct method is intended to mimic a more natural process of growth, revegetating larger areas in a more efficient manner.This photograph is significant as it provides evidence of a project undertaken by the Wooragee Landcare Group in the early 2000s to educate members of the public on alternative and potentially more efficient methods of planting seedlings. The Wooragee Landcare Group has been instrumental in the co-ordination of programs relating to biodiversity protection in the local area, providing great assistance to landholders.Landscape coloured photograph printed on gloss paperReverse: WAN NA EONA2N2. ANN+ 1 4240 /

Discusses the work, design techniques and career of first recipient of the Essington Lewis Award (for Industrial Design) - Frederick Ward. Ward's work introduced all the essential principles of the best Australian furniture: functional form; use of Australian materials; respect for the nature of all materials; suspicion of ornament and a sense of purposeful proportions.Review of Fred Ward’s Award by the Industrial Design Council.Typewritten (c copy), quarto, 2 pagesfrederick ward, industrial design, australian furniture, function, form, australian materials, essington lewis award, robin boyd, manuscript

Mrs P.. Cosh is a private Physiotherapist contracted by RDNS to educate RDNS nursing staff in safe transferring techniques. This photograph is taken in the Heidelberg Centre. The RDNS Sisters are wearing their winter uniforms of a blue/grey skivvie under a blue/grey V neck tunic style herringbone winter material dress,From the founding of the Melbourne District Nursing Society (MDNS) in 1885, known as Royal District Nursing Service (RDNS) from 1966, the rehabilitation of patients to insure they were able to live independently in their own homes was at the forefront of care given by their Trained nurses. As well as teaching and supervising the use of equipment, their Trained nurses taught them safe transfer techniques. These techniques were also taught to family members to enable them to care for their loved ones. RDNS at first held workshops given by a contracted private Physiotherapist before employing their own Physiotherapist in 1975 who taught staff the correct techniques, not only for safety of the patient, but to reduce physical strain on RDNS nursing staff and patient’s family members. When required the Physiotherapist accompanied the Sister on her visit to the patient in their home.On the left in the black and white photograph is Royal District Nursing Service (RDNS) Sister Elizabeth Francis, who has curled dark hair and is kneeling on a mat looking down at Sr. Bev. Armstrong, who has straight blonde hair and is lying on a mat on the floor with her head resting on a white pillow and her right arm resting across her body. Behind and slightly to the right of Sr. Armstrong is Sr. Daphne Geldard who has short dark curled hair. She is kneeling on the mat and looking down at Sr. Armstrong. To her right is Physiotherapist Mrs. P. Cosh, who has dark short curled hair and is wearing a check suite. She is looking at Sr. Armstrong and has her left hand resting on the out edge of Sr. Armstrong's right hand. The RDNS Sisters are wearing a light coloured skivvie under a darker V neck tunic style dress. A closed wooden door is behind the Sisters with pale walls either side. Lino tiles are on the floor either side the mat on which Sr. Armstrong lay.Barry Sutton Photographer's Stamp, Quote KY28, names of staff hand written on back of photographrdns, royal district nursing service, nurses uniforms, rdns physiotherapist, sister elizabeth francis, sister bev armstrong, sister daphne geldard, mrs p. cosh

This is a book of 71 pages. The cover is grey with a colour photograph of a cow's head, black printing and dark blue binding. The pages contain black and white photographs, sketches and tables, printed text and a colour fold out of a cow showing internal organs etc. The cover is partly detached from the pages.non-fictionInformation on dairy farming in Australiadairy farming in australia, dairy cows, warrnambool, western victoria

Table of contents: Editorial, News and Notes, A few hints on histological technique, Summaries and notes from the mining journals, Professor A. Mica Smith B.Sc., Notes on Victorian geology, The origin of diamonds, Hydraulic mining, Volcanoes, Analytical chemistry notes, Some things we ought to do, Sports, Correspondence, Editorial notes.Pale green booklet of 10 pages. ballarat school of mines, students' magazine, g. e. saunder, w. wallace, j. booth, f. farnell, h. waller, a. h. freeman, w. e. hearman, professor dawbarn, e. gutheil, a. selwyn brown, h. watson, a. w. k. peirce, professor mica smith, w. bradford, henry watson, mr e. faribault, j. h. parsons, j. holmes pollock, t. s. hart, thomas hart, alfred mica smith, a. e. c. kerr, g. g. bonney, histological technique, diamonds, victorian geology, massey-harris bicycles, adelaide school of mines, ballarat school of mines colours, ballarat school of mines motto, ballarat school of mines badge, w.hirt, e. byron moore, britannia gold mine, visitors, j. bryant, premier mine coolgardie, last chance gold mine, g.e. saunder, ivanhoe mine kalgoorlie, black horse cyanide works, edgerton, hercules mine, mount reid, tasmania, f. parnell paul, zeehan school of mines, a.h. freeman, crown point gold mining co, w.e. hearman, parker's range, southern cross, w.a., trappean rocks, hydraulic mining, a.e.c. kerr, volcanoes, f.g. bonney, l.j. austine and co., downer and co, carter and werner

Two articles regarding sign Language from the book Perspectives on British Sign Language and Deafness edited by B. Noll, J. Kyle and M. Deuchar - 1. The Role of Sign in the Structure of the Deaf Community by Lillian Lawson. 2, The Influence of British Sign Language Structures on Communication Teaching Techniques by Martin ColvilleOlive green, 29.5cmHx21cmW, 17 pagesbritish sign language, b.noll, j. kyle, m. deuchar, lillian lawson, martin colville

Book. ALEC H CHISHOLM COLLECTION. 176 page hard cover book by Kenji Tomiki explaining the art and techniques Judo and Aikido. Illustrated with numerous B & W photos and one colour plate. Includes a 3 page glossary of Judo terms. Published in 1959 by Japan Travel Bureau, Tokyo and printed by Kyodo Printing Co., Tokyo. Catalogue sticker ''2175 TOM'' on spine. Handwritten in ink on flyleaf ''Mr A.N. Chisholm with best wishes Tatsuo Kenvar March 3 1959''. Library of congress Catalogue Card No. 58-59726.Kenji Tomikibooks, collections, sport, alec h chisholm collection, judo, aikido, martial arts, kenji tomiki

Henry Beater Christian (1886-1962) , was a descendant of one of the earliest settler families in Kew. Employed at the Kew Asylum as a 'public servant', he was a skilled amateur photographer, photographing numerous scenes in Kew and on his travels around Victoria. The majority of his photographs date from 1916 to 1929. His finest photographs are housed in two photograph albums. Digital copy of a photograph from page 3 of the 47-page photograph album containing 261 gelatinous silver images, loaned by Diane Washfold with permission given to digitise and hold a copy in our collection. This photograph is of a stretch of the Yarra near Macauley's Boat Sheds. In the distance, elevated above the river are the towers of the Kew Asylum. Henry B Christian developed his own photographs and often selected those he considered artistically fine for visual modification, such in this instance, where he used an oval framing technique in the development process. The style was commonplace in postcards. "Yarra Rvr / Kew / 1925"henry beater christian (1886-1962), landscape photography, kew (vic.) — yarra river, christian-washfold collection, photograph albums, kew asylum

This art work is an example of an Art Deco print created through lithoprint / lithograph techniques. As a print it would have been more affordable than an original artwork and hence could be purchased by a wider cliental. Little is known about the artist, but Jean Lasalle is listed as producing another print used by Tuck & Sons in their Oilette postcard series.This item is significant socially as an example of artwork that may have been displayed in homes around the 1910s- 1930s. The Oilette logo carries significance, linking the print to a business that was influential in the early production of postcards.Unframed print on board with some framing tacks still attached to the back of the board. Print area is in fair condition. The print has been stuck to a ‘paper frame' which has been attached to the backing board. The subject of the print is a lake view, with steep mountains in the background and two female figures on a bench in the foreground in the Art Deco style. Colours are muted. The print has the artist's signature 'Jean Lasalle' (looking at the print bottom left) and the words 'Oilette' (looking at the print bottom right) with a small logo composed of an oval and square underneath.flagstaff hill, warrnambool, maritime village, maritime museum, flagstaff hill maritime museum & village, shipwreck coast, great ocean road, lithoprint, lithograph, oilette, golden dawn, art deco, jean lasalle, print, day dream

This photograph shows Royal District Nursing Service (RDNS) Sister Meissen observing Mrs Lata as she transferred from her wheelchair onto a shower chair in the bathroom at her home. Sr. Meissen is based at the RDNS Moorabbin Centre. Patients were taught, and then supervised, by RDNS visiting Sisters in the use of safe transferring techniques. From the founding of the Melbourne District Nursing Society (MDNS) in 1885, known as the Royal District Nursing Service (RDNS), from 1966, their Trained nurses cared for patients in their own homes who required to be taught safe transferring techniques, e.g. from bed to wheelchair or from chair to walking frame etc. Their family members also needed to learn safe transferring techniques to enable them to care for their loved ones. RDNS employed a Physiotherapist who taught staff the correct techniques, not only for safety of the patient, but to reduce physical strain on RDNS nursing staff and patient’s family members. Sisters carried out General Care to those patients unable to care to their own hygiene safely, and, working towards independence where possible, the Sisters taught them safe transferring techniques using equipment such rails, shower seats, and hand showers.On the right of this black and white photograph is Royal District Nursing Service (RDNS) Sister Meissen standing and observing Mrs. Lata in the bathroom of her home. Sr. Meissen has short dark hair; is wearing a white gown over her uniform and wears a grey peaked uniform hat. She has a towel draped over her left arm, and is smiling at Mrs. Lata who is on her left and is sitting on a shower chair. Mrs. Lata, who is wearing a light coloured nightgown with flower motifs, is smiling up at Sr. Meissen and has her right arm raised with her hand gripping a rope pulley. Part of a wheelchair with the left arm removed is seen in the foreground; the seat of the chair is in line with the seat of the shower chair. A hand shower, taps and glass screen can be seen in the background of the photograph.rdns, royal district nursing service, rdns uniform, patient care, moorabbin centre, sister m. meissen, mrs lata

The Steering Committee Residences developed this PERT (Programme Evaluation Review Technique) as noted in a memo dated 28.5.74 written by Chairman Legatee Quayle (Cat. No. 01689). The chart shows the sequence of developments for rationalising Blamey House, Stanhope, and Harelands, and potentially allowing for the long term transitioning of Blamey House into accommodation for elderly widows; this was never carried out. Gives an insight into Legacy thinking about the way in which the residences should be used.White foolscap photocopy, black type on white. Two holes punched for filing. In ink bottom right hand side 'HR 3/4/74' This would have been Legatee Rodgers.residences, blamey house, stanhope, harelands

This photograph depicts a reef mine in Beechworth. Reef mining, or quartz reef mining, was common in 19th Century Victoria. This gold mining technique requires mine shafts to be sunk into underground quartz reefs, with horizontal tunnels dug from the original shaft at differing levels to find the gold-bearing rock. The quartz would then be hoisted to the surface, which would then be pounded to access the gold in its metallic state. Gold was discovered in Beechworth in February 1852, at Spring Creek. Within 11 months of that discovery, over 8000 hopeful prospectors quickly descended on this region, transforming it into a thriving, wealthy township. Reef mining and hydraulic sluicing were gold mining techniques used in this region in the 19th and early 20th centuries. This photograph interestingly contains dogs alongside the miners. While dogs have been recorded as deterrents to thieves in the Victorian goldfields, these dogs appear as companions to these men.The search for gold is ingrained into the history of Victoria and therefore, images like this one can reveal important information for society and technology for the date when the photograph was taken. It also shows a location where reef mining was undertaken which provides insight into the impact on the environment at a time when it was done. Although quartz is one of the most common minerals found in the earth's crust, it does not always contain gold. Those reefs that do are rare and highly sought after by prospectors. The Beechworth Burke Museum has additional images relating to gold mining which can be analysed and studied alongside images like this one.Sepia coloured rectangular photograph printed on gloss photographic paper. Obverse: Reverse: United Shire of Beechworth/ Shire Secretary/ Reef Mining, Beechworth./ 6167.abeechworth, burke museum, gold, gold mining, gold rush, victorian gold rush, reef mining, quartz, companion dog, horse and cart

This reproduced photograph depicts a reef mine in Beechworth. Reef mining, or quartz reef mining, was common in 19th Century Victoria. This gold mining technique requires mine shafts to be sunk into underground quartz reefs, with horizontal tunnels dug from the original shaft at differing levels to find the gold-bearing rock. The quartz would then be hoisted to the surface, which would then be pounded to access the gold in its metallic state. Gold was discovered in Beechworth in February 1852, at Spring Creek. 8000 hopeful prospectors quickly descended on this region within the year, transforming it into a thriving, wealthy township. Reef mining and hydraulic sluicing were gold mining techniques used in this region in the 19th and early 20th centuries. This reproduction photograph interestingly contains dogs alongside the miners. While dogs have been recorded as deterrents to thieves in the Victorian goldfields, these dogs appear as companions to these men.The search for gold is ingrained into the history of Victoria and therefore, images like this one can reveal important information for society and technology for the date when the photograph was taken. It also shows a location where reef mining was undertaken which provides insight into the impact on the environment at a time when it was done. The Beechworth Burke Museum has additional images relating to gold mining which can be analysed and studied alongside images like this one.Black and white rectangular reproduction photograph on gloss photographic paper. Obverse: Reverse: L is miners 26%/ 10 x 8/ 6167.bbeechworth, burke museum, gold, gold mining, gold rush, victorian gold rush, reef mining, quartz, companion dog, horse and cart

This photograph was taken on Friday the 27th of August 2004 as part of an event called 'Direct Seeding Expo'. This event was one of many held by the Wooragee Landcare Group in the early 2000s which aimed to educate the local community on certain agricultural and biodiversity conservative techniques. This particular event took place across three different locations - Wooragee Hall, and direct seeded sites at the properties of Marcus and Lisa O'Connor, and Neil and Anne Nankervis - and, therefore, the exact location where this photograph was taken is unknown. Three different direct seeding techniques were demonstrated during the day by several experts in the field. Direct seeding involves the sowing of seeds directly into the soil to achieve germination and establishment. It is an alternative to planting seedlings in a contained nursery plot. This direct method is intended to mimic a more natural process of growth, revegetating larger areas in a more efficient manner. This photograph is significant as it provides evidence of a project undertaken by the Wooragee Landcare Group in the early 2000s to educate members of the public on alternative and potentially more efficient methods of planting seedlings. The Wooragee Landcare Group has been instrumental in the co-ordination of programs relating to biodiversity protection in the local area, providing great assistance to landholders.Landscape coloured photograph printed on gloss paperReverse: WAN NA EOWA2N2 ANN- 1 4240 /

This image shows the gorge adjacent to Beechworth in approximately 1900. Although the exact location of the photograph is yet to be determined, the present-day Beechworth Gorge Walk includes views of the Cascades at the point at which Spring Creek flows into the valley on the level below. Gold-sluicing techniques in use in the town during periods of active gold extraction may have altered the landscape since the photograph was taken, however. In the 1850s a mill was built at the top of the Spring Creek falls by Russian-born Louis Chevalier, brother of artist Nicholas Chevalier. The mill supplied the town with lumber that supported the town's initial construction boom. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is significant because it provides insight into Beechworth's built environment and natural landscape in the early Twentieth Century, around the time of Australia's Federation. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a square image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, indigo shire, north-east victoria, spring creek falls, beechworth gorge, louis chevalier, nicholas chevalier, lumber industry, timber industry, 1850s, construction, building, mill, mills, waterfall

This image shows the gorge adjacent to Beechworth in approximately 1900. Although the exact location of the photograph is yet to be determined, the present-day Beechworth Gorge Walk includes views of the Cascades at the point at which Spring Creek flows into the valley on the level below. Gold-sluicing techniques in use in the town during periods of active gold extraction may have altered the landscape since the photograph was taken, however. In the 1850s a mill was built at the top of the Spring Creek falls by Russian-born Louis Chevalier, brother of artist Nicholas Chevalier. The mill supplied the town with lumber that supported the town's initial construction boom. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is significant because it provides insight into Beechworth's built environment and natural landscape in the early Twentieth Century, around the time of Australia's Federation. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a square image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, beechworth gorge, indigo shire, landscapes, mill, sluicing, gold mining, north-east victoria, spring creek, louis chevalier, cascades

Marcelling is a hair styling technique in which hot curling tongs are used to induce a curl into the hair. Its appearance was similar to that of a finger wave but it is created using a different method. Marcelled hair was a popular style for women's hair in the 1920s and 30s often in conjunction with a bob cut. For those women who had long hair, it was common to tie the hair at the nape of the neck and pin it above the ear with a stylish hairpin or flower. Accounts vary about the invention of the style, but Marcel Grateau (1852–1936) is widely credited with inventing the hair styling technique in the 1870s. He started with a small salon in Montmartre, Paris where his clients were the poorer classes. As he developed the waving method that would later become the Marcel wave, using heated curling irons, The inventor and stylist emigrated to the United States and changed his name to François Marcel Woelfflé, sometimes reported as François Marcel. He was granted U.S. patents for implements for performing the technique; the first, U.S. patent 806386, entitled "Curling-Iron", was published in 1905, and the second, entitled "Hair-Waving Iron", for an electric version, under the name François Marcel, was published in 1918. His obituary appeared under the name Francois Marcel Grateau in 1936. Originally the irons had to be heated in the fire, but hair easily got burnt until 1924 when electric irons were invented and the temperature could be regulated. A significant item that gives us a snapshot not only into women's hairstyles of the 1920s and 1930s but a look into the social norms of that era. Therefore the item is of social interest in regards to the story it tells and the development of women's fashion in hair styling.Marcel Tongs, metal, used to impart a hair wave by heating and crimping the hairNoneflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, tongs, curling tongs, hairdressing

Before the invention of woven baskets, people used tree bark to make simple containers. These containers could be used to transport gathered food and other items but crumbled after only a few uses. Weaving strips of bark or other plant material to support the bark containers would be the next step, followed by entirely woven baskets. The last innovation appears to be baskets so tightly woven that they could hold water. Depending on soil conditions, baskets may or may not be preserved in the archaeological record. Sites in the Middle East show that weaving techniques were used to make mats and possibly also baskets, circa 8000 BCE. Twined baskets date back to 7000 in Oasisamerica. Baskets made with interwoven techniques were common at 3000 BCE. Baskets were originally designed as multi-purpose vessels to carry and store materials and to keep stray items about the home. The plant life available in a region affects the choice of material, which in turn influences the weaving technique. Rattan and other members of the Arecaceae or palm tree family, the thin grasses of temperate regions, and broad-leaved tropical bromeliads each require a different method of twisting and braiding to be made into a basket. The practice of basket making has evolved into an art. Artistic freedom allows basket makers with a wide choice of colours, materials, sizes, patterns, and details.Before the advent of plastics (1907), the is now used for many different types and styles of storage container rattan, wicker or cane was used to make containers with a lid for the storage of linens etc. The subject item was probability used at the end of the Victorian era and into the Edwardian period around the 1900s as a household storage facility. These types of wicker or cane containers started to go out of fashion due to their fragility around the 1920s into the 1940s due as well to the introduction of synthetic materials. Wicker cane rectangular shaped domestic storage container with reinforced leather pads on 4 corner sides. lid fits inside the other. Black cane piece around top edge.Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

Alan PEASCOD (1943-2007). Born England. Arrived Australia 1952. Alan Peascod was one of Australia’s most highly acclaimed ceramic artists. For over 35 years his work has been at the forefront of the Australian ceramics movement, developing radical techniques previously unexplored with his developments in unusual glazes and firing methods. His creative repertoire includes dry glazed vessels, alkaline glazes, majolica, saturated metals, and many post firing finishes. Alan's work with the very difficult reduced lustre technique is highly regarded. He was taught the method by Professor Said El Sadr in Cairo, Egypt in 1972 and this led to lifelong research of the technique throughout the Middle East and Europe. His work in the field led to the completion of his doctoral studies at the University of Wollongong in 1994. This study also led to satirical figurative sculpture themes dealing with the human condition. This work is part of the Jan Feder Memorial Ceramics Collection. Jan Feder was an alumna of the Gippsland Campus who studied ceramics on the campus. She passed away in the mid 1980s. Her student peers raised funds to buy ceramic works in her memory. They bought works from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught there.Blue and green dry glaze bottle. alan peascod, ceramics, gippsland, jan feder memorial ceramics collection, gippsland campus, visiting artist

140 Loose pages titled The Bendigo Saleyards Economic Viability Study. Report written by Kate Millard on behalf of the Bendigo Development Committee Inc. Contents include: Chapter 1 - Background Information, Chapter 1 - Present Operations at the Saleyards, Chapter 3 - Economic Factors, Chapter 4 - Environmental Factors, Chapter 5 - Selling Techniques, Chapter 6 - Employment Study, Management and Sundry Issues, Chapter 7 - Survey of Farmers and Saleyard Users in the 'Catchment Area', and Chapter 8 - Recommendations of the Report. Includes diagrams and maps. Recommendations printed on dark yellow paper.bendigo, council, cattle markets, bendigo saleyards collection - the bendigo saleyards economic viability study, bendigo development committee inc., kate millard, loddon campaspe planning authority, street, ryan and associates, bendigo city council, strathfieldsaye shire council, department of industry technology & resources, national library of australia, meldrum burows & partners, core wilson sayer, town planning appeals panel, ces, victorian farmers and graziers association, stock agents association, department of agriculture, department of industry technology & resources, department of conservation forests and land, cr jock comini, rca depot, wellsford rifle range, bendigo airport, bendigo field naturalists club, mr david kennedy, mr john brumby, mr john radford, neil o'keefe, bendigo east progress association, bendigo east traders, trades hall council, mr tom uren, mr frank wilkes, mr bruce reid, mr k i m wright, mr e t ebery, bendigo pastoral council of the vfga, victorian meatworks association, bendigo stock & station agents association, rutlands transport, mr don pickles, country abattoirs & wholesalers association association of victoria, meat and allied trade federation of australia, bendigo saleyards advisory committee, bendigo residents & ratepayers association, a h & n graham, mrs p unmack australian bureau of statistics, mr lloyd houlden, cr c rodda, mr jolly, mr tony milanese, dr robert carter, university of melbourne, bendigo college of tafe, t matthews, a s & r d rutland, john kerr, j talbot, g l o'sullivan, penney & lang pty ltd, graeme pickering, pickhall j w & sons, r a plant, w k schmidt, t j vick, k & j wignall, a e wright, g chapman, a j gillies, p g & m m harris, ian r hollingsworth, b kennedy, s letcher, s & d k letcher, p m llewellyn, l g mason, boyer r t, connally m f, kennedy & mortlock, nevins j p, r w johnstone, w j keith, b d kelly, notman r, pitts a j & c a, pitts mervyn l & co, rowe w o, warren k m, associated stock & station agents, dalgety farmers ltd, elders dsm estates, ellis nuttall & co, gallagher g d, hamilton real estate, mcgregor ralph h & co, mckean w & co, miller turner livestock co, vains e m & co, victorian producers, hill m j & co, bennetts meats, comell bros, davis b & d, hardwick g f & v c, penney & lang p/l, tendercut meats, northern seed supply co, bendigo fertilizers, agri business pty ltd, agrilink consulting group pty ltd, acil aust pty ltd, mcgowan & associates, chapman w c, talbot e j, mcculloch w & sons pty ltd, k v equipment, commercial egg producers assoc co-op, monsanto aust ltd, balmer bryan r, barry i j, bath l, clarke b j, treacy k m, turner j m, bendigo mower serv pty ltd, everlast concrete tank tyltd, wicks bros, canvas goods, don mcarthur, bendigo communications, transcom, emdell pty ltd, epsom pharmaceutical supplies, sandhurst fencing pty ltd, arnolds gates & fencing, r furniss, carne neville, awa & unicla, ajm refrigeration, bendigo concrete sawing service, hamilton r j, hearpes t w, j e brown, campey dr a r, fyffe j j, kangaroo flat vet clinic, ottrey k e, bendigo sprinkler installations, milnes irrigation, onga pumpshop, barastoc products, bush's produce stores, epsom produce, k m m pty ltd, bendigo grain co, eaglehawk chaff mills, grain elevators board dept, bonneys pest control, knights pest control, brown wk & l d, bendigo sewerage authority, bendigo water board, aci computer services, leham donald, a e hueffer & associates, wolmoke planners, p langley, mr ken strachan, mr evan jones, mr peter byrnes, mr wayne street, street ryan & associates

Henry Beater Christian (1886-1962) , was a descendant of one of the earliest settler families in Kew. Employed at the Kew Asylum as a 'public servant', he was a skilled amateur photographer, photographing numerous scenes in Kew and on his travels around Victoria. The majority of his photographs date from 1916 to 1929. His finest photographs are housed in two photograph albums. Digital copy of a photograph from page 7 of the 47-page photograph album containing 261 gelatinous silver images, loaned by Diane Washfold with permission given to digitise and hold a copy in our collection. This photograph was taken during a flood year, perhaps 1923, when the Yarra encroached on the grounds of the Abbotsford Convent. In the distance, the Johnston Street Bridge separates the viewer from the industrialised landscape of Fairfield. In developing the photo, Henry Christian employed a circular frame to artistically focus the view. He empkloyed this technique for what he may have viewed as his best photographs. "Studley Park / Kew"henry beater christian (1886-1962), landscape photography, kew (vic.) — yarra river, christian-washfold collection, photograph albums, fairfield, kew, johnston street bridge, studley park

The extensive fashion and design collection of the Kew Historical Society has been assembled over a number of decades. One subsection of this collection is shoes, designed and manufactured for Australian women by Australian and European designers. Many of the shoes, while often mass-produced, were generally constructed by skilled artisans using traditional shoe-making techniques. The shoes date from the 1890s to the 1980s. Pair of pink leather court shoes with a black insole on which Tony Bianco, the designer’s name is embossed.Tony Bianco / Made in Italyfootwear, women's shoes, court shoes, tony bianco - designer