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.

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.

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.

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.

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.

The red-winged blackbird is native to North America. They live in a verity of places from southern Alaska at its northern most point, to the Yucatan peninsula in the south and covers the greater part of the continent reaching from the Pacific coast of California and Canada to the eastern seaboard. Populations that are most northerly migrate south after the mating season, but some of the populations in the central and western United States, Central America and the Gulf Coast are resident year-round. In the breeding season, Red-winged blackbirds are found in a range of fresh and saltwater environments, including in small trees and bushes along marshes and watercourses, in agricultural areas and dry meadows. During migration, they can be found in, pastures, prairies and cultivated fields. They are polygamous. The Red-winged blackbirds are known for their scarlet and yellow shoulder patches but on this specimen are rather dull and the feathers are not as glossy black as they are in other images. It is mounted accurately but the feathers appear to be ruffled. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.The Red-Winged Blackbird is one of the most common birds in North America and is the most boldly coloured one. The males are glossy-black with shoulder patches of scarlet and yellow which they are able to puff up or hide according to their level of confidence. Females look like a big, dark sparrow, being a subdued, streaky brown. The colouring of this particular specimen identifies it as male.[torn] page 58 / Tag: A. 4423taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, american birds, north america, red-winged blackbird, red-winged starling, migratory, alaska, canada, saltwater

SHILLINGLAW Ernest Samuel : Service Number - 1689 : Place of Birth - Eltham VIC : Place of Enlistment - Melbourne VIC : Next of Kin - (Sister) SHILLINGLAW Mary Service Record https://recordsearch.naa.gov.au/SearchNRetrieve/Interface/DetailsReports/ItemDetail.aspx?Barcode=8082612&isAv=N Enlisted 25 Feb 1916 Embarked overseas 20 Jun 1916 Served with the 38th Battalion in France Wounded in action 29 May 1917 with a severe gunshot wound to the left eye. Promoted to Lance Corporal 3 Sep 1918 Awarded the Military Medal 17 Mar 1919 (Gazetted London 17 Jun) Diembarked Melbourne 30 Apr 1919 Discharged 25 Jun 1919 from AIF, medically unfit with influenza POSTCARD 1905-1940s Like the carte-de-visite, postcards enjoyed a collecting craze by large numbers of people, and were often kept in albums through which the interested visitor could browse. Postcards were posted or exchanged in huge numbers. Postal authorities in Australia only allowed the private printing of postcards from 1898. At this time the back of the card was reserved for the address and postage stamp, and the front was used for the message and a picture. In 1902 British authorities allowed a "divided back", so that the left side could be used for the message, the right side for the address and stamp, and the whole of the front was devoted to the picture. France followed suit in 1904, Germany and Australia in 1905, and the United States in 1907. - Frost, Lenore; Dating Family Photos 1850-1920; Valiant Press Pty. Ltd., Berwick, Victoria 1991marg ball collection, postcard, 1916, aif, ernest samuel shillinglaw (1888-1958), first world war, world war 1

SHILLINGLAW Ernest Samuel : Service Number - 1689 : Place of Birth - Eltham VIC : Place of Enlistment - Melbourne VIC : Next of Kin - (Sister) SHILLINGLAW Mary Service Record https://recordsearch.naa.gov.au/SearchNRetrieve/Interface/DetailsReports/ItemDetail.aspx?Barcode=8082612&isAv=N Enlisted 25 Feb 1916 Embarked overseas 20 Jun 1916 Served with the 38th Battalion in France Wounded in action 29 May 1917 with a severe gunshot wound to the left eye. Promoted to Lance Corporal 3 Sep 1918 Awarded the Military Medal 17 Mar 1919 (Gazetted London 17 Jun) Diembarked Melbourne 30 Apr 1919 Discharged 25 Jun 1919 from AIF, medically unfit with influenza POSTCARD 1905-1940s Like the carte-de-visite, postcards enjoyed a collecting craze by large numbers of people, and were often kept in albums through which the interested visitor could browse. Postcards were posted or exchanged in huge numbers. Postal authorities in Australia only allowed the private printing of postcards from 1898. At this time the back of the card was reserved for the address and postage stamp, and the front was used for the message and a picture. In 1902 British authorities allowed a "divided back", so that the left side could be used for the message, the right side for the address and stamp, and the whole of the front was devoted to the picture. France followed suit in 1904, Germany and Australia in 1905, and the United States in 1907. - Frost, Lenore; Dating Family Photos 1850-1920; Valiant Press Pty. Ltd., Berwick, Victoria 1991marg ball collection, postcard, 1916, aif, ernest samuel shillinglaw (1888-1958), first world war, world war 1

The National Liberation Front Flags 1955-1976 The Viet Cong, or National Liberation Front, was the patriot/rebel army based in South Vietnam that fought the South Vietnamese government and the supporting United States troops during the Vietnam War (1959-75). They fought mainly as guerrilla units and rarely as regular army units. They also provided a network of cadre who organized the peasants against the government in the territory they controlled. The Viet Cong were closely allied with the government of North Vietnam. The group was formed in the 1950s by former members of the Viet Minh acting on orders from Hanoi. They proved highly effective against both ARVN (Army of the Republic of Vietnam) and later against the better equipped American troops. There were at least four types of flags, probably more, seen being carried by the Viet Cong. Type #1 had a small yellow star centered over a red and blue striped background, Type #2 had a larger white star centered on the red and light-blue striped background, Type #3 had either a large or small yellow star centered on a red and white striped background, and Type #4 had three vertical stripes of red/white/red with a small gold star centered on the white stripe. Like the early flags of the American Revolution, most flags were hand-made and each flag was a little different. Some examples of these variant flags also had Vietnamese text added to them. http://www.loeser.us/flags/cold.html#vietnamCotton flag with a red upper half and bluish lower half An Orange star is in the centre. The flag is very water damaged with extensive fading of the colour. It was initially difficult to differentiate between a Type 1, Type 3 and Type 5 flag vietcong, flag,

Pipe smoking has been in vogue for centuries, and in Australia it was a symbol of the "discerning smoker" such as the landed gentry or men of professional status. This pipe, of the Standard Canadian style, would have emigrated to Australia with its owner, a reasonable young professional or executive of the Hudson Bay Tobacco Company in the late 1800s or early 1900s. It is the type of pipe well suited to a harsh rural backdrop and with its owner found the Kiewa Valley a more relaxed environment than the Canadian Indian locations. The value of this pipe to the original owner, who would have sealed many trade contracts during the Canadian Indian smoke rituals In the late 1800s, is indicated by the long voyage to Australia and the Kiewa Valley. However with the health related restrictions placed on public smoking in the early 2000s, these tobacco pipes were not immune from the legislation, and even though the pipe smoke was not as offensive as cigarette smoke it still came under the umbrella of smoking. Pipes were also used in the process of inhaling illicit drugs i.e. marijuana, but this use was limited to a very few and not with this pipe. Smoking in the second millennium is being phased out as a social habit in Australia but may affect the few "private" smoker and has, as the United States prohibition era (alcoholic drinks) did, spawn an illicit trade in cheap contraband tobacco. Pipes such as this item show that smoking was not only part of the lifestyle of the era but also that it was part of a ritual (especially to the Indians of the Canada Hudson Bay region) that sealed a brotherhood not only socially but also politically and economically.This type of pipe lends itself well to the rural setting of the Kiewa Valley and although it is a very exclusive pipe it blended into the tobacco industrial environment of the Kiewa Valley and its surrounding districts. The Kiewa Valley region was up until the late 1900s part of the Australian Tobacco industry and the levels of men smoking pipes was enhanced by the readily supply, "off the fields", of tobacco leaves and the attitude to city based smoking restrictions was one of resentment.This pipe has a straight shank and stem and its style is 'standard Canadian'. The pipe has a permanent filter and a stainless steel band with the initials of the Hudson Bay Tobacco Company and its seals stamped on it.. The bowl and shank are one piece of appropriate shaped wood. The bit and bore are made from bakelite (dark brown in colour). The pipe is fashioned in the form of the clay pipes used by trappers, in the late 1800s early 1900s. It has a "rest" lug at the bottom of the bowl similar to clay pipes. This pipe has its own pipe case with wood reinforcement running the entire pipe shaped contour.On the stainless steel at the mortise and tenon junction is stamped "HP" and below that are stamped symbols of a ship's anchor, a lion and a tobacco leaf.tobacco, pipe smoking, smoking accessories

During the Victorian era, the period (1837-1901) in which Queen Victoria ruled England. The queen’s influence was felt throughout the world, including in the United States and Australia where Victorian values shaped society and style, especially in home décor. This period’s distinct style presents an eclectic mix of highly ornamented furniture, wallpaper, and knick-knacks. Particularly in terms of furniture, and the characteristic floral patterns and rich, contrasting colours, wall hanging that enjoyed the height of its popularity during the Victorian era were of the spiritual type with an either embroidered or punched paper religious motto or bible quote. Mottoes were commonly hung high up on the wall or in an area of prominence, to remind the viewer of their important message, such as "Home sweet Home “He Leadeth Me” and “Honesty, Industry, and Sobriety.” Short and pithy, they embodied the ideals of Victorian society. Technological advances contributed to the boom of religious mottoes whereas before the Industrial Revolution home décor of this sort was handmade and therefore minimal, now consumers could purchase and fill their homes with all sorts of mass-produced ephemera goods similar to the subject item. Many of these mass-produced period pieces still exist today, often in their original frames, ceramic, or paper formats. Flagstaff maritime museum has many examples of mottoes on display that serve to reflect the period in which values of home, faith, and Christianity were very prominent in everyday Victorian society. For more information on the Giles collection see Acquisition section this document: An item that reflects the social values and attitudes of the late Victorian era that was used to promote good Christian and moral values in many households. These items of decoration were very popular at this time and the subject item is significant as it gives a snapshot into the social norms of past generations. The Giles family collection is of additional social significance at a local level, because it not only illustrates the level of material support the Warrnambool community gave to Flagstaff Hill during it’s establishment. But the Giles collection also gives us an additional view into what domestic life was like in early colonial times prior to Federation.Wall decoration, framed handmade embroidered tapestry with the woven inscription, Frame has velvet cover. This item is part of the Giles CollectionHome Sweet Home, in gothic scriptflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, flagstaff hill maritime village, great ocean road, soft furnishing, wall decoration, home sweet home, wall hanging, handmade wall hanging, giles collection, henry giles, tower hill, cooramook, warrnambool breakwater, mailor’s flat, wangoom, 19th century handcraft, mrs vera giles

Research is still being carried out regarding the inscription on this bell. Perhaps it was used for horses during the war. It may have been a souvenir or perhaps just a political statement, similar to 'Buy Australian'. Cow bells were common to colonial agriculture and transport, used wherever animals were turned out to graze overnight and had to be rounded up again next morning. Bells were fastened around the necks of household milking cows, domestic goats, bullock teams, horse teams, and camel teams, to help find them in the pre-dawn light. Station shepherds and cattle drovers also used them to warn of any disturbances to their flocks and herds overnight. The bells were a necessary item in a largely unfenced continent. So important, that Anthony Mongon began making his pot-bells at Yackandandah from 1861, August Menneke produced the “Wagga Pot” from 1867, and Samuel Jones started manufacturing his distinctively shaped “Condamine Bell” in 1868. However, these deeply resonant Australian bells were made from iron — Mongon and Jones were blacksmiths who simply beat old pitsaw blades into shape. Few genuinely brass cow bells were made here, the vast majority being imported from Britain where the industry of brass founding was already well established. (Some bells were also imported from the United States, but these too were nearly all of iron).This bell is historically significant as typical of a cow bell used by farmers and herdsmen in Colonial Victoria. Cow bell, brass, topless pyramid shape, inverted "U" shaped pin attached. Pin and clapper are iron. Bell is embossed on sides. Embossed "ADVANCE / VICTORIA" and "WWI"flagstaff hill, warrnambool, shipwreck coast, flagstaff hill maritime museum, flagstaff hill maritime village, maritime museum, great ocean road, cow bell, horse bell, bell smith, vintage bell, farmer, shepherd, drover, stock bell, brass bell, advance australia, wwi

The company was originally founded by Frederick Perkins a Russian immigrant schooled in Germany as a machinist and tool and die, maker. Frederick came to the United States in the early 1890s and soon became employed as a machinist for E.W. Bliss & Company in Brooklyn, New York. In the early 1900s, he and a partner began operating a business, F. Persky & Company, Lantern Manufacturer, out of the basement of his house. In 1907, Frederick's son Louis joined him in the business, and together they enlarged both the product line and the manufacturing facilities. By 1912, they had seventeen employees and made a wide range of marine lanterns and products. The business continued operating until 1913 when Frederick became president of National Marine Lamp Company, based out of Forestville, Connecticut. Frederick and Louis left that company in 1916 and moved back to Brooklyn, New York, where they started Perkins Marine Lamp Corporation. Five generations later, PERKO is still a privately owned, family-operated corporation. Perkins Marine Corporation was initially known as Perkins Marine Lamp, Inc. The original focus was on the manufacture of hand-formed sheet metal products for the marine market. The first “Perko” catalogue was published in 1916. It included a full range of kerosene and electric lanterns for small and large boats, ventilators, chart cases, signalling devices, mooring buoys, pumps and a variety of spare parts. These products, fabricated from brass, copper and galvanized sheet metal, began a reputation for producing high-quality products. In 1922, the "PERKO" trademark was instituted with each new product utilising the latest, sophisticated metal manufacturing technology.A significant item from an American manufacturer that specialises in making marine products and is still in business today under the same trade name. The subject item is significant as it was made not long after the trade name of PERKO was registered in 1922 and began to be used on the company's various products.Kerosene lamp with circular fuel tank and chrome plated reflector shield. "PERKO" stamped on base.warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, kerosene lamp, marine lamp, perko inc, lighting, marine accessories manufacturer

A visiting card, also known as a calling card, is a small paper card with one's name printed on it, and often bearing an artistic design. Visiting cards became an indispensable tool of etiquette, with sophisticated rules governing their use. The essential convention was that one person would not expect to see another person in his own home (unless invited or introduced) without first leaving his visiting card for the person at his home. Upon leaving the card, he would not expect to be admitted at first, but might receive a card at his own home in response. This would serve as a signal that a personal visit and meeting at home would be welcome. On the other hand, if no card were forthcoming, or if a card were sent in an envelope, a personal visit was thereby discouraged. As an adoption from French and English etiquette, visiting cards became common amongst the aristocracy of Europe, and also in the United States. The whole procedure depended upon there being servants to open the door and receive the cards and it was, therefore, confined to the social classes which employed servants. Some visiting cards included refined engraved ornaments, embossed lettering, and fantastic coats of arms. However, the standard form visiting card in the 19th century in the United Kingdom was a plain card with nothing more than the bearer's name on it. Sometimes the name of a gentlemen's club might be added, but addresses were not otherwise included. If a card was left with a turned corner it indicated that the card had been left in person rather than by a servant. Visiting cards were kept in highly decorated card cases.A timber calling card case, heavily carved with flowers, leaves and huts.craftwork, woodwork, visiting cards, early settlers, moorabbin, bentleigh, cheltenham, market gardeners

Three Victory Class ships, S.S. Cranston Victory, S.S. Costa Rica Victory and the S.S. La Grande Victory, were built for the “United War Shipping Administration” as troop and cargo ships. Their war time duties were short lived as they were soon sold to the Dutch Government for the use as troop transport ships and Migrant ship to the United States, Canada, Australia and New Zealand. These three ships were built toward the end of World War II, and were part of the new larger improved version of the famed “Liberty” ships. Each ship had strengthened hulls for them to go into the war zone, but by the time they were completed the war was coming to an end. There were ninety seven Victory troop transport ships built, each able to transport up to 1600 troops. Unlike the Liberty ships, all accommodation was fully ventilated and heated. There was the usual meagre style troop bunks, a hospital, galleys, washrooms and even a several public rooms. The first of the trio, S.S. Cranston Victory (Zuiderkruis) was built by the Oregon Shipbuilding Yard in Portland; Oregon was launched on May 5, 1944. The second of the series, S.S. Costa Rica Victory (Groote Beer) was built by Permanente Metals Co, Richmond California and launched on June 17, 1944. The last of the three was the S.S. La Grande Victory (Waterman), which like her sister S.S. Cranston Victory, was built by the Oregon Shipbuilding Yard in Portland, Oregon and launched on January 16, 1945.In November 1951, the third of the trio, La Grande Victory, renamed Waterman, was completed and at 9,176-tons, commenced her first voyage to Australia.A framed oil painting of the migrant ship MV WatermanWatermanmv waterman, liberty ships, migrant ships

This item is from a collection donated by descendants of John Francis Turner of Wodonga. Mr. Turner was born on 6 June 1885. He completed all of his schooling at Scotts Boarding School in Albury, New South Wales. On leaving school, he was employed at Dalgety’s, Albury as an auctioneer. In 1924 John was promoted to Manager of the Wodonga Branch of Dalgety’s. On 15/03/1900 he married Beatrice Neal (born 7/12/1887 and died 7/2/1953) from Collingwood, Victoria. They had 4 daughters – Francis (Nancy), Heather, Jessie and Mary. In 1920, the family moved From Albury to Wodonga, purchasing their family home “Locherbie” at 169 High Street, Wodonga. "Locherbie" still stands in Wodonga in 2022. The collection contains items used by the Turner family during their life in Wodonga. The Ernest Lehmann Co was founded in 1881 by Ernest Paul Lehmann in Brandenburg, Germany. Lehmann exported vast quantities of toys to the United States from 1895 to 1929 (excluding years of WWI). In 1921, Mr. Lehmann’s cousin, Johannes Richter joined the firm and built on the Lehmann reputation by patenting toys. Lehmann specialized in lithographed tinplate, mechanical transportation toys, and figures known for colorful patina. This toy was manufactured between 1924 and 1935. The Lehmann catalogue describes the toy as “[a] Mexican zebra team. The zebra refuses to be tamed and leaps about wildly.” It is believed to have been inspired by an unsuccessful German stud farm in Dar es Salaam that attempted to cross-breed zebra with domesticated horse.This item comes from a collection used by a prominent citizen of Wodonga. It is representative of popular children's toys in the 1920s and 1930s.This is a tin, lithographed, windup toy featuring a zebra and Mexican style driver. The seated driver has a green top and cream trousers and yellow and green pointed hat, zebra with red ears and cord tail. The cart is red and cream, embossed with the Lehmann company emblem and other patent information. The number 1881 on the back of the cart represents the year Ernest Lehmann Co was founded.On back of cart" ZIKRA/ 1881/LEHMANN" Behind driver: "PAT USA APP FOR" and PATENT USA 22 JAN 07/ 2 DEC 13" On side of cart:"DEUTCHES REICH PATENT" Around wheel rim: "LEHMANN MARKE SCHULTZ MUSTER"tin toys, zikra the zebra, ernest lehmann co

Used during Korean War Won (1947-) Main article: North Korean won After the division of Korea, North Korea continued using the Korean yen for 2 years until the Central Bank of the Democratic People's Republic of Korea was established on December 6, 1947 and a new currency was issued. It was at the time pegged at par to the Soviet ruble. It was revalued at a rate of one hundred to one in February 1959 and new won were issued. In the following years the won faced some devaluation, caused by the subsequent devaluation and redenomination of the Soviet ruble. From 1978 to 2001, the North Korean government maintained an iconic rate of 2.16 won to the US dollar; since then banks in the country exchange at rates closer to the black market rate. However, rampant inflation has been eroding the North Korean wŏn's value to such an extent that currently it is believed to be worth about the same as the South Korean wŏn. In any case, the U.S. dollar and other currencies are still worth more in North Korean wŏn on the black market than officially. South Korean currencies[edit] Won (1945-1953)[edit] Main article: South Korean won (1945) Following the end of the division of Korea, the won was introduced to replace the Korean yen. The won was subdivided in 100 jeon. The first banknotes were issued by the Bank of Joseon in denominations ranging from 5 jeon to 100 won. In 1950 the currency management switched to the Bank of Korea and new notes were then issued, mostly with higher denominations. The first note put in circulation by the Bank of Korea in 1950 was printed in Japan by the National Printing Bureau (国立印刷局). The next year the Korea Minting and Security Printing Corporation was created and took over as printer of South Korean currency. At the time of the introduction in 1945 the won was pegged to the Japanese yen at a rate of 1 won = 1 yen. In October of the same year the anchor currency got change to the US dollar at a rate of 15 won = 1 dollar. Toward the end of the Korean War the won was devaluated at 6000 won = 1 dollar. Following that the hwan was introduced as the new currency at a rate of 1 hwan = 100 won. Hwan (1953-1962)[edit] Main article: South Korean hwan Due to devaluation of the won the hwan was introduced on February 15, 1953 at the rate of 1 hwan = 100 won. It was subdivided in 100 jeon, but they were never used. New banknotes in denominations between 10 and 1000 hwan were issued. Starting in 1959, 10 and 50 hwan coins were also issued to replace the lower denomination notes. Those were the first circulating coins in South Korea. Due to the short notice of the change in currency, the first series of the new notes was commissioned from the United States Government Printing Office. The notes were released in five denominations, all with an identical design. Some replacement notes with a more suited Korean theme were later issued, starting with the 100 hwan just a month later. The hwan suffered from inflation as well. At its introduction, it was pegged to the United States dollar at 1 dollar = 60 hwan, but toward the end of its life it was devaluated at 1 dollar = 1250 hwan. In 1962, the won was reintroduced at the rate of 1 won = 10 hwan. The 10 and 50 hwan coins were kept in circulation until March 22, 1975.5 Currency notes issued by Korean Government and R.A.A.F. denominations of 100, 100 Won and 1 shilling国立印刷局, currency korea, money korea, money korean war

Mr. Northcott served all through the Crimean war, and obtained three service medals. He was most fortunate, as he did not even receive a scratch. While fighting in the trenches one day he happened to glance round, and was surprised to discover that his brother was by his side. They had not seen each other for a long time, and the meeting under such circumstances can be imagined. Two of his brothers, John and William, served throughout the war. At its close he came to Victoria, the gold fever being then at its height. His stay in Bendigo was brief, as the New Zealand rush attracted his attention, but he returned in 1858 to Bendigo, and as the outlook was quiet, he went back to New Zealand in 1859. Finally, in 1860, he settled in the Bendigo district with his father and mother and brother William. They took up some land at Leichardt and remained there for some years. It was about this time that he became prominent in musical circles. He came of a musical family, as his oldest brother, John, was one of the musicians to the Royal Family, and was pensioned by the late Queen Victoria. His younger brother, William, is at the present time one of the leading cornet players in the United States. In 1867 the late Mr. Northcott married Miss Lansell, sister of Mr. Geo. Lansell, her demise having taken place about three months before. When he left Leichardt, Mr. Northcott became Mr. Lansell's general manager, and continued in that capacity for 26 years. While he was manager of the 180 Mine it is estimated that gold to the value of a million sterling was taken from the mine. It is, perhaps, in his capacity as a bandsman, that Mr. Northcott was best known, as he became a familiar figure not only in the chief centres of Victoria but throughout Australia. He first became leader of the old Volunteer Band, and he was subsequently leader of the Battalion Band at Castlemaine. It was when he became leader of the musical combination known as Northcott's Brass Band that his fame and the fame of the band became widespread, as some 25 years ago it was one of the finest bands in Australia, and held that distinction for many years. Although many changes in the personnel of the band have taken place, it still retainsits old name. Mr. Northcott was a cornet player of high ability, and in 1871 he was presented by the citizens of Bendigo with a handsome silver cornet, in recognition of his services as a musician. His home contains a great array of trophies, photographic groups of bandsmen etc., which serve to indicate in a sense the reputation he enjoyed as a bandsman. During his career in Bendigo he invested in mining a good deal, but was not very fortunate in this respect, as he lost a good deal of money on the New Chum line. Naturally he was well known and warmly respected, especially by bandsmen. He was a genial citizen, and made a large circle of sincere friends. He was a member of the Zenith Lodge of Masons, having passed through the chairs twice. He was also a member of the A.O.F., and formerly a member of the School of Mines Administrative Council. It was about this time that he became prominent in musical circles. He came of a musical family, as his oldest brother, John, was one of the musicians to the Royal Family, and was pensioned by the late Queen Victoria. His younger brother, William, was one of the leading cornet players in the United States.Black and white photograph of Northcott's City Band, Bendigo. 3 rows of men in Band Uniform. Drum centre, brass instruments.men laying in grass at front.organisation, band, northcott's city band

The red-winged blackbird is native to North America. They live in a verity of places from southern Alaska at its northern most point, to the Yucatan peninsula in the south and covers the greater part of the continent reaching from the Pacific coast of California and Canada to the eastern seaboard. Populations that are most northerly migrate south after the mating season, but some of the populations in the central and western United States, Central America and the Gulf Coast are resident year-round. In the breeding season, Red-winged blackbirds are found in a range of fresh and saltwater environments, including in small trees and bushes along marshes and watercourses, in agricultural areas and dry meadows. During migration, they can be found in, pastures, prairies and cultivated fields. They are polygamous. In the north, the early arrival and tumbling song of these birds are welcome indications of spring's return. The Red-winged blackbirds are known for their scarlet and yellow shoulder patches on this specimen are rather dull and the feathers are not as glossy black as they are in other images. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This is one of the most common birds in North America and is the most boldly coloured one. The males are glossy-black with shoulder patches of scarlet and yellow which they are able to puff up or hide according to their level of confidence. Females look like a big, dark sparrow, being a subdued, streaky brown. This specimen has the colouring of the male Red-Winged Blackbird which helps to identify it as such.Swing-Tag: 137a. / Red-winged Starling / Catalogue page, 58 / Tag: A. 4429taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, american birds, north america, red-winged blackbird, red-winged starling, migratory, alaska, canada, saltwater

This post drill press has been made by Melbourne business, Dawn Manufacturing Company. It can be operated manually or by a pulley driven flywheel, with the aid of an engine connected to a power supply. In the late 1800s early 1900s a drill press like this would have been driven by steam from a boiler, the main power source for manufacturer’s power at that time. Dawn’s Golden Anniversary 1917-1967 Catalogue describes this model 611 drill as … “Ruggedly constructed with accurately reamed bearings. The coupling between the main spindle and feed screw engages the full circumference of the spindle, and embraces a ball-bearing thrust race. The pillar, as in all “Dawn Drilling Machines” is a solid bright steel bar, in place of the usual light tubing. Adjustable automatic feed.” And “F. & l. Pulleys extra, if required”. DAWN MANUFACTURING CO. The Dawn Manufacturing Co. was founded in Coburg, Melbourne, in 1917 by the four Blake brothers, who were all engineers. After World War I Dawn was supplying drills Australia wide and the company was growing at a healthy rate. During the depression they remained busy, with employees working 60-80 hour weeks. Dawn was contracted to supply vices and clamps to the Australian Defence Department and munitions factory during the World War II. - 1959 the company was taken over by G.N. Raymond Group. - 1967 the Dawn Manufacturing Co. had distributors in Australia and overseas, including USA, Canada, New Zealand, Asia and the Middle East. - 1973 the Siddons Ramset Limited acquired Dawn. - December 1991, Dawn became a unit of the United States owned Stanley Works Pty. Ltd. - November 1998 Dawn became 100 per cent Australian owned. The drill is a typical tool of a blacksmith, cart wright, wheelwright and garage business. It is an example of the tools of the blacksmiths’ trade in Victoria in the early to mid-20th century.Post type drill press machine with gear driven flywheel. Drill press is attached to a post and is fitted with a pulley belt and will run at a speed of maxim 200 r.p.m. The machine can also be manually operated. It has an aperture in the centre, a chuck, for the drill bit and has two metal handles at the centre, on the right hand side. Gear ratio 2:1 main drive, 6" diam, 3:1 reduction gear. Made by Dawn of Melbourne, Australia. Model No. 611, Code No. 9157"DAWN MFG COY”, “MELB. AUSTRALIA", " 611"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, blacksmiths, blacksmith’s drill, blacksmith tools, dawn drill model no. 611, dawn drill code no. 9157, dawn manufacturing coy melbourne, dawn manufacturing coy coburg, dawn post drill, drilling machine, drill with gear driven flywheel, forging tool, metal working tool, post drill, steam powered drill, trade tool, warrnambool district 1900s

In 1905, Mr. Frank Jarvis and Mr. Tommy Garner formed Conway Stewart & Co. Limited at 13 Paternoster Row EC1, next to St Paul’s Cathedral in London. Today, this area is known as Paternoster Square having been redeveloped after its complete destruction during the Blitz of World War II. Although there is much debate regarding the origins of the Company’s name, it is believed that the name “Conway Stewart” derives from a popular vaudeville act of the day. Conway and Stewart were supposedly a comedy double act who appeared at Collins Music Hall in Islington. The two entrepreneur took a great risk in leaving their secured jobs to start a new enterprise reselling fountain pens made by other manufacturers. They concentrated their energies and invested in importing pens from the United States. After an arduous month of persistent selling of their stock, they reaped the rewards of a rather healthy turnover of more than £13 and 9 shillings. This was a great accomplishment considering that the rent for their business premises was only five shillings a week. Even though this turnover would be pleasing to many new ventures, the strength of De La Rue in the fountain pen market made it impossible for the company to continue selling no-named fountain pens. In the same year, De La Rue reportedly invested £50,000 in a promotion campaign for their new launch, the Onoto. However, Garner and Jarvis soon recognized there was an audience desiring good, reliable writing instruments that were also affordable. This is when Conway Stewart began to capture a market amongst the English. Jarvis and Garner developed a single aim, to produce elegant and beautiful, yet functional writing instruments – a principle that Conway Stewart holds true to this day.Red "Conway Stewart Ink" bottle with black metal lid and red round label. Square bottle with flat edges. One quarter filled with ink.Front: 20 fl. ozs./Conway/Stewart/ink (white letters on red background, label, upper area of bottle)ink, writing, bottle

The Hall Cherokee II glider is an American design for amateur construction from plans. The designer was Stan Hall (1915-2009), a professional engineer, who gained extensive experience in the United States aviation industry during World War 2 including the programs for military gliders. He continued to work as an engineer for aircraft manufacturers and as a consultant to the industry after the war. He was active in gliding and, in particular, the home built sailplane movement. The Cherokee II was one of about 10 glider designs that he produced: it came out in 1956. It is understood that over 100 Cherokee gliders have been built. In Australia the number is possibly 10 or 11. The Hall Cherokee VH-GVO was built by R.D Meares of Caringbah, New South Wales. The glider was registered as VH-GVO on 11 October 1973 and given serial number “GFA-HB-82” by the Gliding Federation of Australia. The Logbook for VH-GVO appears to be a complete record of the flying history; in aggregate 210 hours 40 minutes in the air from 331 flights. The first test hop occurred on 29 July 1972 at Camden, New South Wales. VH-GVO was last flown on 22 July 1986. Many of the flights recorded are of one or two hours duration. The glider was last inspected and certified as airworthy and in a reasonable condition at the Hunter Valley Gliding Club in July 1986. Since that time, until transferred to the Australian Gliding Museum, the glider was in storage. Structural restoration work has been completed on the fuselage and one wing. However, inspection of the other wing revealed extensive damage to the ribs and spars and consequently a decision was taken to make it a static exhibit. The exhibit is an example of home built construction of a type that has proved popular amongst amateur glider builders.The Hall Cherokee (formerly registered as VH-GVO) is a single seat wooden home built glider. The glider is constructed from wood, plywood, fabric and metal fittings, all commercial grade except for main wing fittings, pulleys, cables and bolts. The fuselage is simple with four main longerons and bulkheads with diagonal bracing. The wing has two identical solid spars which form a geodetic structure, hence the leading edge is non-structural. Registration VH-GVO – serial number GFA-HB-82 australian gliding, glider, sailplane, hall, cherokee, meares, hunter valley gliding club

A laryngoscope is an instrument used to view the larynx (voice box), which is the opening to the trachea and lungs. It consists of a “blade,” which goes into the patient’s mouth, and a handle. Prior to 1943 when Macintosh introduced his curved blade, most laryngoscope blades were long and straight. The straight blades were used to directly hold the epiglottis. Macintosh’s curved blade works differently: it indirectly opens the epiglottis by applying pressure to a space between the root of the tongue and epiglottis, called the vallecula. The flange running along the left lower edge of Macintosh’s blade was also a novel innovation. It was designed to move the tongue to the side, which improved the view of the larynx and made more room for a breathing tube. The Macintosh Laryngoscope remains one of the most popular blades worldwide. (Source: Wood Library Museum) This laryngoscope was previously owned by John Mainland, as evidenced by the name etched into the handle. Mainland graduated from the University of Melbourne in 1950 with a Bachelor of Science degree. After researching and completing his medical degree, Mainland entered into the field of anaesthetics, training at the Royal Women's and Royal Children's Hospitals, later Alfred Hospital, in 1959. He completed training in 1964 and remained at the Alfred Hospital. During his career, he also became the first anaesthetist appointed to the position of Professor in Victoria. His other achievements include manufacturing a respiratory monitoring module that accompanied astronauts on the United States moon landing and developing a stimulator to lessen the risk of deep vein thrombosis in surgical patients. Mainland became a Fellow of the Australian and New Zealand College of Anaesthetists in 1992, retiring from the profession in 1997.Oblong shaped handle with textured grip. Attached is a laryngoscope blade in a cruved shaped with light tube running through one side.Etched into top of handle: J.F. MAINLAND •Stamped into top of handle: REGD TRADE MARK / PENLON / MADE IN ENGLAND •Stamped into base of handle: CLOSE [arrow] •Etched into base of blade: MAC / 4 •Stamped into side of blade: REGD TRADE MARK / PENLON / MADE IN ENGLAND •Stamped into side of blade: STAINLESSmacintosh, robert reynolds, new zealand, laryngoscope, mainland, john, alfred hospital, moon landing

Mim (Mariam) Sodergren developed innovative, specialized ski programs for women and children in both Australia and the United States. She and her husband Mike originated from Tahoma, California, USA. They spent 17 years of their lives without a summer, working as ski instructors in Lake Tahoe during the northern winters, and then they’d head off to Falls Creek and Thredbo in Australia. Mim and Mike Sodergren were both inspiring instructors at Falls Creek Snowsports School, dedicated to education and had a deep-seated passion for fostering an inclusive Snowsports community. Tragically Mim and Mike were among the 18 people killed on 30 July 1977 in Thredbo, Australia, when a landslide tore through Thredbo’s ski resort village and demolished two staff lodges. In 1997 the Australian Professional Snowsport Instructors (APSI) established the Sodergren scholarships in memory of Mim and Mike. The Sodergren Scholarship recognises the rising potential of Snowsport instruction within Australian ski resorts and allows the recipients to further their professional development by providing all training free of charge for one season. The women’s program still operates at Falls Creek and is a "heartfelt tribute to the memory of Mim Sodergren. Designed by women, for women, and inspired by the enduring passion of Mim and her partner, Mike, who was also an instructor, this program is a wonderful opportunity to learn to ski in a friendly and supportive environment, just as Mim envisioned." (Falls Creek Website 2024). Mike’s Men’s Ski Program at Falls Creek is also named in honour of Mike Sodergren. Mim’s skis were kept for many years by Ski Lifts at Falls Creek and were recently donated to the Falls Creek Museum for safe keeping.These skis are significant because they belonged to an iconic ski instructor still commemorated at Falls Creek, Victoria.A pair of Atomic Arc Skis, primarily black with coloured logo.ATOMIC ARC MODULE 645SLmim sodergren, mike sodergren, atomic skis, thredbo landslide

The ship “Ellis” started life as the Clementina, launched in America in 1781. The vessel was first listed in Lloyd's Register in 1784 and under this name began serving as a slave ship sailing out of Liverpool. A Lloyd’s database records of slave-trading voyages by vessels from Liverpool makes it clear that Clementina was a slave trader. The next year Captain J. Elworthy sailed her to West Central Africa and St Helena. He transported his slaves to South Carolina. Then in 1785 Elworthy gathered slaves in the Bight of Biafra and the Gulf of Guinea Islands for delivery to Jamaica. In 1786 Bent & Co. purchased the Clementina and renamed her Ellis, presumably after the then owner Ellis Bent. She remained in the slave trade and In 1788 Captain John Ford sailed the now renamed Ellis to the Bight of Biafra and the Gulf of Guinea to gather slaves. He delivered this batch of slaves to the island of Grenada. The next year, 1789 the Ellis was almost completely rebuilt, and from the change in subsequent reports of her cargo loading or (burthen), she was enlarged. In 1791, Captain Joseph Matthews became master and sailed the Ellis to the Gold Coast then delivering his consignment of slaves to the island of St Vincent. During this voyage, some misfortune may have befallen Matthews because records show the Ellis command was transferred to Thomas Given. In 1792, Given sailed to the Bight of Biafra and the Islands in the Gulf of Guinea, again collecting slaves for delivery to Jamaica. There is a parallel record, also for 1793, that the Ellis under the command of Thomas Heart, undertook the same journey and with the same itinerary and cargo. In 1793, Bent & Co. decided to use the Ellis as a privateer with John Levingston as the master. After receiving a letter of "marque” on the 3rd of June 1793, that allowed any armed vessel to commit acts on the high seas which would otherwise have constituted piracy. Thus the Ellis began to operate as a combat ship under the endorsement of the British navy. The Ellis was three times captured first by the French frigate Gracieuse, under the command of Captain Chevillard on 22 July 1793. The French took her into service and renamed her as ”Elise”. Later that summer the Spanish captured her and in November ownership returned to the French who then renamed her the “Esperance”. On the 8th of June 1794, Esperance arrived in Jacmel, Saint-Domingue (present-day Haiti), from France with the official proclamation of the abolition of slavery. Leger-Felicite Sonthonax was one of the Civil Commissioners of Saint-Domingue and he had already unilaterally proclaimed the island for the French colony the year before amid a slave rebellion and attacks from British and Spanish forces. Ironically, Esperance also brought the news to the Civil Commissioners that the National Convention of France had impeached them on 16th July 1793 and ordered them to return promptly to France. On 8 January 1795, HMS Argonaut, under the command of Captain Alexander John Ball, captured Esperance while she was on the North America station. At this time the Esperance was armed with 22 guns (4 and 6-pounders) and had a crew of 130 men. She was under the command of Lieutenant de vaisseau De St. Laurent and had been out at sea for 56 days from Rochfort, bound for the American Chesapeake Bay area.  The French ambassador to the United States registered a complaint with the President of the United States that Argonaut, by stating that by entering Lynnhaven bay, either before she captured Esperance or shortly thereafter, had violated a treaty between France and the United States. The French also accused the British of having brought the Esperance into Lynnhaven for refitting for a cruise. The British Consul replied that the capture had taken place some 10 leagues offshore as the bad weather had forced Argonaut and her prize to shelter within the Chesapeake area for some days, but that they had left as soon as practicable. Furthermore, Argonaut had paroled her French prisoners on arrival at Lynnhaven, and if she had entered American territorial waters solely to parole her French prisoners no one would have thought that objectionable. Royal Navy Service: Because the Esperance was captured in good order and sailed well, Rear Admiral George Murray, the British commander in chief of the North American station, put a British crew aboard and sent the Esperance out on patrol with HMS Lynx, under the command of John Poo Beresford, on 31st January. On 1st March the two vessels captured the Cocarde Nationale (or National Cockade), a privateer from Charleston, South Carolina, of 14 guns, six swivel cannons and a crew of 80 men. Esperance and the lynx went on to recaptured the ship Norfolk, of Belfast, and the brig George, of  Workington. On 20 July, Esperance, in company with frigates Thetis and Hussar, intercepted the American vessel Cincinnatus, of Wilmington, sailing from Ireland to Wilmington. They pressed many men on board into service, narrowly missing the Irish revolutionary Wolfe Tone, who was on his way to Philadelphia. Esperance was formally commissioned in 1795 into the Royal Navy in August under the Command of Jonas Rose. On 4 May 1796 Esperance was sailing in company with HMS Spencer and Bonetta when they sighted a suspicious vessel. Spencer set off in chase while shortly thereafter Esperance saw two vessels, a schooner and a sloop, and she and Bonetta set off after them. Spencer sailed south by south-east and the other two British vessels sailed south-west by west, with the result that they lost sight of each other. Spencer captured the French gun-brig Volcan, while Bonetta and Esperance captured the French schooner Poisson Volant.   The Esperance eventually arrived at Portsmouth on the 3rd of November 1797, the crew was paid off and on 31st May 1798 the Admiralty listed the Esperance for sale and she was sold in June 1798 for £600.The subject scrimshaw is a modern reproduction crudely done of a historic vessel and the scene is believed to be engraved onto a synthetic substance. Scrimshaw art crudely carved into non-natural material in the shape of a tooth. The line artwork is an image of a three-masted sailing ship with a poop deck, and anchors, are coloured black. Inscription is engraved into tooth.Engraved "Man o War Ellis" warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, scrimshaw, ellis, esperance, clementina, elise, hms ship, man of war, leter of marque, privateer, slave ship, slavery, ellis bent, american war of inderpendance, marine art, marine artifact, whale tooth, ivory tooth, resin, plastic, craft, engraving, carving

Built by artist and cartoonist Percy Leason in 1927 in what was then New Street but renamed Lavender Park Road in the late 1950s/early 1960s. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p121 Said to be a genius, cartoonist Percy Leason’s career was at its peak when in 1925 to 1926 he built his home at New Street (now Lavender Park Road) Eltham. The Herald newspaper owner, Sir Keith Murdoch, had hired Leason for his newly acquired Melbourne Punch magazine at a salary of £1750, making him ‘one of the highest paid cartoonists in the world’.1 With this salary and financial help from Murdoch, Leason was able to build his lovely home in Eltham. At the crest of a sweeping drive, the home now two-storey in white brick with a gabled grey slate roof and dormer windows is flanked by an extension built by another owner in the 1980s. Leason lived in the home with his wife, Isabel and children, until 1937, when he left for the United States of America, where he lived until his death in 1959. The four-bedroom house and garden would have been well-suited to bringing up his family and to entertaining their friends in style. Large airy rooms have high ceilings with moulded plaster, timber floors and several are brightened with bay windows. Leason made friends with many of the artists and personalities who gravitated to Eltham. Around 1931 Justus Jörgensen, founder of the Montsalvat Artists’ Colony, helped Leason build his large studio at the back of the house. Another friend was journalist Mervyn Skipper, father of jeweller and sculptor Matcham, and artists Helen and Sonia. Leason’s teacher, artist Max Meldrum, also visited and rented accommodation in Eltham, opposite Wingrove Park. Punch folded in 1925, but Leason continued as cartoonist for Table Talk. In 1926 Leason began the cartoons of a mythical Australian town Wiregrass, which were inspired by Kaniva, his home town. The art gallery in Main Road Eltham was named Wiregrass in Leason’s honour. Leason completed 1000 drawings from 1919 to 1937, which author Garrie Hutchinson claimed, were technically unsurpassed and had regional and universal interest. Leason’s acute observations of country life stemmed from his childhood in Kaniva in Victoria’s western Wimmera, where he was born, the son of a selector, in 1889. Meldrum claimed that Leason could name every plant and the habits of every animal.2 Leason also painted 28 portraits of the last full-blooded aboriginals in Victoria at Lake Tyers in Gippsland, most of which are in a private collection. In Sydney Leason illustrated Henry Lawson’s Selected Poems and worked for The Bulletin. Leason had begun his career at 13 as an apprentice lithographic artist at Sands and MacDougall. He attended night classes at the National Gallery and the Victorian Artists Society. Leason first visited Eltham in 1910 to paint with fellow artist William ‘Jock’ Frater. They camped near Bible and Pitt Streets and along the Diamond Creek on the site of the present Eltham Retirement Centre. Despite his success as a cartoonist, Leason wanted to be recognised as a serious painter and for his anthropological work.3 He was also conservative and felt uncomfortable with the modern art scene in Melbourne.4 So he left for the United States of America to work as a painter. Ironically his time in New York saw the burgeoning of modern art, notably by artists such as Jackson Pollock. But Leason found his niche by running an art school, painting society portraits and illustrating books and magazines.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, landscape, lavender park road, percy leason, new street

Yields information through postcard and some photos of Ballarat during the tramway eras - provides reference photographs for researchers to find original copies.Set of 12 copy negatives, of black and white photographs of Ballarat trams and postcards from Ray Pearson Collection, taken by Dave Macartney in 1975c. Original negative held in the negative file. Scanned at 2400 dpi and cropped as necessary. Images as shown replaced by scan from the original Ray Pearson Album provided by Mal Rowe, April 2020 or that there is a better image. .1 - Rose Series postcard P4609 - looking east along south of Sturt St, late 1940's. .2 - Rose Series postcard P10050 - Bridge St looking west. - see item 8975 for the actual postcard. .3 - Line up of trams in Sturt St West, for March 1968 Vintage train. .4 - Postcards or photo folder of Craigs Hotel and the Post Office, late 1900's. .5 - Postcard with Post Office in background, with horse trams crossing. .6 - Postcard or photo folder with Sturt St and "Greetings from Ballarat" .7 - Rose Series postcard P10044 - Lydiard St south, looking North - late 1940's. See item 8978 for the actual postcard. .8 - Rose Series postcard P13492 - Lower Sturt St, north side looking east. .9 - Rose Series postcard P13493 - Sturt St, south side, lower section, looking east. .10 - Postcard with horse tram arriving Grenville St, dated 5.2.04, has a miner and farmer on the right-hand side. .11 - Postcard of train at Ballarat railway station and a large crowd of people in the photo. .12 - Postcard or photo folder of an ESCo tram in Sturt St, with a "Souvenir of United States Fleet's visit to Australia" TMSV now possibly has these albums.trams, tramways, ballarat, postcards, sturt st, bridge st, post office

Brown Coal is typically found as rocks. During formation the Brown Coal starts as peats, which is an acidic brown deposit resembling soil, and over time when subjected to pressure and heat these peats form the Coal. Brown Coal is the lowest rank of coal as it has a low carbon (energy) content, and a high moisture content. This high moisture content makes Brown Coal unsuitable for overseas exports. This particular specimen was recovered from the Yallourn Mine in Latrobe Valley, Victoria as part of the geological survey of Victoria being carried out by Alfred Selwyn. Otherwise known as the 'Yallourn Power Station', the Yallourn Mine is Australia's second largest mine. Yallourn Mine was first built in 1920, and since then it has been providing over 1 billion tonnes of Brown Coal to Australia every year. The Yallourn Mine is responsible for 22% of Victoria's electricity and 8% of Australia's electricity. As of 2021 the mine employs around 500 people. Due to ongoing maintenance issues and Australia's move to cleaner energy, the Yallourn Mine intends to shut down permanently as of 2028. Soon after gold was discovered in 1851, Victoria’s Governor La Trobe wrote to the Colonial Office in London, urging ‘the propriety of selecting and appointing as Mineral Surveyor for this Colony a gentleman possessed of the requisite qualifications and acquaintance with geological science and phenomena’. Alfred Selwyn was appointed geological surveyor in Australia in 1852 which began the Geological Survey of Victoria. In 1853-69 the Geological Survey issued under Selwyn's direction sixty-one geological maps and numerous reports; they were of such high standard that a writer in the Quarterly Journal of the Geological Society of London bracketed the survey with that of the United States of America as the best in the world. During his years spent in Australia, Selwyn collected numerous significant geological specimens, examples of which are held in collections such as the Burke Museum.Brown coal is considered to be an essential rock to Australia's energy consumption. Although plentiful in sources, Brown Coal is not able to be exported overseas due to its high moisture content. As Australia moves towards cleaner energy, Brown Coal is going become less used. This specimen is part of a larger collection of geological and mineral specimens collected from around Australia (and some parts of the world) and donated to the Burke Museum between 1868-1880. A large percentage of these specimens were collected in Victoria as part of the Geological Survey of Victoria that begun in 1852 (in response to the Gold Rush) to study and map the geology of Victoria. Collecting geological specimens was an important part of mapping and understanding the scientific makeup of the earth. Many of these specimens were sent to research and collecting organisations across Australia, including the Burke Museum, to educate and encourage further study.A solid hand-sized sedimentary rock that is a dark shade of brown.13 / BROWN COAL / Showing Woody structure / Locality: Yallourn, Vic. | Label probably / correct but / can't find reference / no. 13 to match in / registers. / C Willman / 15/4/21burke museum, beechworth, indigo shire, beechworth museum, geological, geological specimen, mineralogy, yallourn, yallourn mine, victoria, coal, brown coal, brown coal specimen, alfred selwyn, geological survey of victoria, geological survey, yallourn power station