Showing 2178 items
matching non-boilable
-
Australian Gliding Museum
Machine - Glider – Sailplane, 1956
This exhibit is a home built glider of a Grunau Baby 2 design modified by the addition of a fully enclosing Perspex canopy, spoilers, and a landing wheel. It was built by Alex Mackie and was originally owned by the Southern Cross Gliding Club at Camden, New South Wales. The first flight was on 19 May 1956. After about 10 years service with that club it passed through a series of owners, including the Forbes Soaring Club, Beaudesert Gliding Club and private operators. The last major inspection and overhaul of the glider was April 1972. It passed a further airworthy inspection in April 1975. At that time, questions were raised about the weight of the glider (found to be 400 lbs empty). In 1976 it had fallen into a non-airworthy condition and has not flown since. By that time the glider had flown 1161 hrs 11 minutes from 5228 launches. This exhibit is an example of a Grunau Baby 2 type incorporating some improvements as typical of post war built Grunau Baby gliders. Wooden – fabric covered glider – missing canopy perspex, Instrument panel has turn and bank only. Currently the glider features a predominately silver grey colour scheme. australian gliding, grunau, southern cross gliding club, forbes soaring club, beaudesert gliding club -
Uniting Church Archives - Synod of Victoria
Photograph, Peter Storey: President-elect of the Methodist Conference of South Africa, 1984
The World Alliance of Reforned Churches had declared the South African Dutch Reformed churches heretical because of their doctrinal advocacy of apartheid. Storey spoke about the situation in South Africa - "Speaking from his non-violence Christian viewpoint, he said that violence was counter-productive. 'When an organisation uses these methods it loses something of its moral case. I understand why people such as the ANC turn to those methods. I will never agree with them.' He saw four main taks for the church in South Africa - to continue to tell the truth in a propagandised society, to continue to bind up the wounds of people who are victims in that society—in this area the church's record is a good one, to demonstrate in its own life an alternative to apartheid, and to try to fashion strategies which would bring about change, in harmony with the teachings of Christ."Storey is shown sitting at a table addressing a meeting.C&N identification.apartheid, storey, peter, south african churches -
Stawell Historical Society Inc
Photograph, Mick Walsh, Mick Walsh Stawell Studio Colour Negatives, 1975 to 1986
Negatives from Stawell Photographer. Discarded from Penna Print Ararat. Son contacted and gave approval for Stawell Historical Society to keep them. Only those of a non personal nature scanned. Eric Lewis Family Jenny Ridd & Stuart Supple Mr & Mrs Joe Price Shelly Dowsett & Phillip Cane Lorraine Stewart & Ian Wedding Carol Driscoll & Peter McGregor Robson Peary Wedding Bev Warren Family Marie Freeman & Michael Fay Robyn Slorach & Geoffery Billett Mr & Mrs Jack Hall Golden Wedding Jack Hall Golden Wedding Anniversary Julie Webb & Shane Young Carthew & Travagline Ararat 1980 Tris Mulveeny & Wayne Kirk Patricia Marshall & Anthony Milverton Kay Court & Leigh Cadzow Marie Hunt & Ross McAllister Colour negatives of families, weddings and other. Nineteen Lever Arch Folders Mick Walsh 52 Patrick Street Stawellphotography -
Stawell Historical Society Inc
Photograph, Mick Walsh, Mick Walsh Stawell Studio Colour Negatives, 1975 to 1986
Negatives from Stawell Photographer. Discarded from Penna Print Ararat. Son contacted and gave approval for Stawell Historical Society to keep them. Only those of a non personal nature scanned. Marge Howard Gay Wedding Commercial Hotel Dunn & Gardner Karen Dey & Don Grellet Neil Pickering Ute Great Western Races 1985 Suzanne Veale & Peter Clark Libby Morris & Joel Woodgate Neils Car Noeline Hately Family Cooper Baby Erwin 21st Grandchildren Dec 1984 Pomonal Back to Neil Lamb Child Pam Curran Helen Maree Smith Baby 3 Generations Newton Ryans at Goldmine Shirley Cheesman & Richards Sandra Miller & Jim Leith Ararat Bullens House Debra Jenkins 21st Lee & Thomas Rhonda & Family Colour negatives of families, weddings and other. Nineteen Lever Arch Folders Mick Walsh 52 Patrick Street Stawellphotography -
8th/13th Victorian Mounted Rifles Regimental Collection
Medal - LS&GCM Dinnervale
The Medal for Long Service and Good Conduct (Military) is a medal awarded to regular members of the armed forces. It was instituted by King George V in 1930 and replaced the Army Long Service and Good Conduct Medal as well as the Permanent Forces of the Empire Beyond the Seas Medal. The medal was originally awarded to Regular Army warrant officers, non-commissioned officers and men of the UK Armed Forces. It also had a number of territorial versions for the Permanent Forces of the British Dominions. The eligibility criteria were relaxed in 1947 to also allow the award of the medal to officers who had served a minimum period in the ranks before being commissioned. Since 2016, the eligibility was widened to include officers who had never served in the ranks, and so the medal can now be awarded to all regular members of the British Army who meet the required length of service.Long Service and Good Conduct Medal awarded to 218218 K V L Dinnervalemedal, ls&gcm, dinnervale -
Vision Australia
Medal - Object, Member of the Most Excellent Order of the British Empire, 1937
To recognise the dedication and service of non-military persons, the Member of the Most Excellent Order of the British Empire (civil order) was established. Shortened to MBE, the award consists of a silver cross with a circular centre and a fleur de lis attached on four sides. Above the north facing fleur de lis is a crown which is connected to a rose pink crossgrain ribbon with pearl grey edges, and tied into a bow. In the central part is the profile of King George V and Queen Mary, and the words 'For God and Empire' in raised letters against a roughened background edging the portrait. On the rear are the copperplate letters 'GRI' (which stand for Georgius Rex Imperator) and an image of a crown directly above this. It is designed to be worn on the left hand side by the female recipient. In 1937 this medal was awarded to Miss Millicent Frances Ritchie for her service as Secretary of the Braille Association of Australia.1 silver coloured medallion attached to ribbon in black case millicent ritchie, victorian association of braille writers, medals -
Vision Australia
Medal - Object, Member of the Most Excellent Order of the British Empire (box only), 1975
To recognise the dedication and service of non-military persons, the Member of the Most Excellent Order of the British Empire (civil order) was established. Shortened to MBE, the award consists of a silver cross with a circular centre and a fleur de lis attached on four sides. Above the north facing fleur de lis is a crown which is connected to a rose pink crossgrain ribbon with pearl grey edges, and tied into a bow. In the central part is the profile of King George V and Queen Mary, and the words 'For God and Empire' in raised letters against a roughened background edging the portrait. On the rear are the copperplate letters 'GRI' (which stand for Georgius Rex Imperator) and an image of a crown directly above this. It is designed to be worn on the left hand side by the female recipient. The medal from this box was presented to Katharine (Kitty) Margaret Rose in 1975 for her tireless work with the aged blind, and is on display at the Bendigo office.1 burgundy box (with silver medal on display at Bendigo VA office)association for the blind, medals, katharine (kitty) rose -
Vision Australia
Functional object - Object, Donation tin - round Radio 3RPH circa 1990's, 1980-1990s
Coin collections have a long and varied history. Coins were often collected in churches in a box located near the entrance/exit, and later via a collection plate that was passed amongst the congregation Funds were used to repair the church or feed the poorest of the parish. The donation of coins is and was considered part of religious life and mentioned in Christian, Jewish and Islamic texts. With the need and expansion of charitable works occurring outside religious life, charity boxes began to spread into hospitals, orphanages and asylums. The need for non-fixed boxes grew with the rise in charities and their activities outside a fixed building. Collection boxes could be large (and therefore hard to move) or could be held by individuals acting as collection agents, working at a specific location, moving between dwellings or at events. In this example, the 3RPH tin could be used gathering coins at events such as outside broadcasts or other special marketing days.1 metal coin collection tin with handle and paper wrap1170 Radio 3RPH For the print handicapped A service of the Association for the Blindassociation for the blind, 3rph radio station -
Vision Australia
Functional object - Object, Donation tin - round Vision Australia, 2005-2018
Coin collections have a long and varied history. Coins were often collected in churches in a box located near the entrance/exit, and later via a collection plate that was passed amongst the congregation Funds were used to repair the church or feed the poorest of the parish. The donation of coins is and was considered part of religious life and mentioned in Christian, Jewish and Islamic texts. With the need and expansion of charitable works occurring outside religious life, charity boxes began to spread into hospitals, orphanages and asylums. The need for non-fixed boxes grew with the rise in charities and their activities outside a fixed building. Collection boxes could be large (and therefore hard to move) or could be held by individuals acting as collection agents, working at a specific location, moving between dwellings or at events. In this example, the Vision Australia tin could be used gathering coins at events such as Carols by Candlelight or other special marketing days.1 metal coin collection tin with paper wrapPaper wrapper around tin: Help me to break down the barriers and achieve greater heights Vision Australia blindness and low vision services Paper on top of tin: Thank you for your support Vision Australia blindness and low vision servicesvision australia, fundraising -
Vision Australia
Functional object - Object, Donation tin - rectangular RVIB tin, 1936
Coin collections have a long and varied history. Coins were often collected in churches in a box located near the entrance/exit, and later via a collection plate that was passed amongst the congregation Funds were used to repair the church or feed the poorest of the parish. The donation of coins is and was considered part of religious life and mentioned in Christian, Jewish and Islamic texts. With the need and expansion of charitable works occurring outside religious life, charity boxes began to spread into hospitals, orphanages and asylums. The need for non-fixed boxes grew with the rise in charities and their activities outside a fixed building. Collection boxes could be large (and therefore hard to move) or could be held by individuals acting as collection agents, working at a specific location, moving between dwellings or at events. These boxes were designed to be reused, with a pop out section in the base.2 x metal coin collection tins with printed sidesFront: The Royal Victorian Institute for the Blind St Kilda Road The only Institute in Victoria for teaching blind adults trades & professions educating & maintaining blind children & babies (Lighthouse with words radiating out from light) Modern cottage homes Pensions - after care & sick fund Prevention of blindness lectures, etc. Free wireless radio for needy cases Boat shed & club house Professions & trades Blind babies nursery Wireless sets Social club Happiness for the blind every day & night Musical education Higher education Domestic science classes for blind women & girls A free education Maintenance of blind children The Lighthouse! As a thanksgiving for sight Please place a coin in this box and help to keep the Beacon Light flashing for the Institute's Blind Adults, Babies and Children Side: (Picture of two girls playing with dolls house) Our blind babies and pupils will probably spend 70 years in our Royal Victorian Institute for the Blind St Kilda Road As a thanksgiving for sight please help make their years very happy ones by placing a coin in this box! Reverse front: (Drawing of a man holding his hand to his eyes as a blast occurs in front of him, pushing small objects towards his body.) It might hit You or Me! Please! Will You? As a thanksgiving for the sight you and your dear ones possess, please place a coin in this box to assist the Royal Victorian Institute for the Blind, St Kilda Road, and its Blind Adults, Children and Babies! Reverse side: (picture of workshop at RVIB) One of our many spacious workshops provided by public subscription! The Royal Victorian Institute for the Blind is faced with the problem of employing and otherwise assisting its blind workers. It gives them charitable allowances in addition to their earnings, amounting to approximately 15,000 (pounds) every year, to enable them to support their wives and families! No profits can therefore be made! This 15,000 (pounds) is distributed because the great handicap of blindness prevents blind persons from earning as much as their more fortunate sighted fellows. Please! Ask Storekeepers for our Baskets, Mats, Brooms, etc. And as a thanksgiving for Your Sight place a coin in this box for our blind adults, children and babies! Embossed on the top of the box is Royal Victorian Institute for the Blindfundraising, royal victorian institute for the blind -
Melbourne Legacy
Document - Minutes, Minutes of Meeting of Board of Management (H49)
Records an extended Board Meeting which took place from 7.30-11.30 p.m on Thursday 16 July 1928 at the office of the Hon Sec in Collins Street , adjourning until 1.00-8.15 pm on Monday 20 August 1928 at the Alcazar Cafe, and then from 1.00-2.15 pm on Wednesday 22 August 1928, also at the Alcazar Cafe. No mention is made of any meals, but it can be assumed that such a long meeting included both food and drink. 56 items were discussed including membership, Junior Legatee activities and supervision, non-attendance by rostered Legatees and conference matters. Mention was made of the stewardship of the Club origin and history; unfortunately despite this promising start much has been lost over the years since. After this epic meeting, the next one was scheduled for 13 September, 1928.Not only do the minutes record the work done by Legacy in the early days, but illustrates the different style of governance in more leisurely times.White foolscap copy sheets x 8 pages of a board of management meeting"H49" (see Item 00937) in blue ballpoint.board of management, founding legatee -
Ballarat Heritage Services
Photograph, Clare Gervasoni, Plaque at Locarno Springs, Hepburn Mineral Springs, 24/09/2019
Plaque at Locarno Springs, Hepburn Mineral SpringsHEPBURN SPRINGS Where reverent gum trees gray-leaved aroming stems Enshrine the greem 'tween walls of slanting slate, Run waters, sihones from some buried grate, In drops more precious than deep mined gems. The elements are liquid in that stream and bursting bubbles charge the atmosphere The breath of nature moves the grasses here, and all is tranquil as a midday dream. The alchemist did set a mighty task, to list an learn the components of life, To change and find some radiant power new from atoms boiled in baking tube ad flask, and now we fear colossal human strife with things the caldrons of the Earth Eschew W.H.S. 1962hepburn springs, whs, mineral springs reserve, locarno spring -
The Beechworth Burke Museum
Geological specimen - Brown coal
This particular specimen was recovered from the Lal Lal Coal and Iron Mine in Victoria, 19km from Ballarat. Brown Coal was discovered here in 1857, just alongside the Geelong to Ballarat Railway line. This discovery of lignite (brown coal) was the first in Victoria, which would bring important benefits to the region and state, both of which had previously been reliant on coal imports. In the 1860s, iron ore was found just 5km from Lal Lal, and the area was converted into an Iron Ore Mine. The Lal Lal Iron Mining Company took over operations in 1874, who then peaked iron production in 1884. This mine continued operations until June 1884, when the blast furnace was extinguished and never recommenced. The blast furnace at Lal Lal is considered one of the most important and highly significant sites ion early industrial history in Australia, as it is the only remaining best furnace from the nineteenth century in the Southern Hemisphere. The furnace ruins are 17 metres high, and are clearly visible today on Iron Mine Road, Lal Lal, near the Bungal Dam. This specimen of Lignite (brown coal) is significant, as it was mined from the area where brown coal was first discovered in Victoria, leading to an important and controversial future of the mining and use of brown coal in this State. The Victorian Heritage Database has listed the Lal Lal Coal Mine with local significance, with their Statement of Significance stating: "The Lal Lal coal mine is historically significant as the site of the first discovery of lignite (brown coal) in Victoria, and one that promised important benefits to regional and state industries that were reliant on coal imports at the time. The significance of the stie is reduced by the poor state of preservation of the coal mining and processing fabric". 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 hand-sized light-weight, soft and combustable sedimentary rock specimen, that is dark brown in colour. The specimen has jagged edges, as though parts of the rock have crumbled away. Brown coal, or Lignite, is formed naturally from compressed peat, and is typically found in natural basins. The stages to the formation of coal ('coalification') begin with plant material and wood, which will decay if it is not subjected to deep burial or heating, and turn into Peat. Peat, when sufficiently compressed naturally, will turn into Brown Coal (Lignite), and finally into Black Coal (sub-bituminous, bituminous and anthracite). Each successive stage has a higher energy content and lower water content. It is brownish-black in colour. Brown Coal has a high moisture content, between 50 and 75 percent, and a low carbon content. Some Brown Coals may be stratified, with layers of plant matter, which means little coalification has occurred beyond the peat natural processing stage. When Brown Coal is submerged in dilute nitric acid or boiling potassium hydroxide solution, it reacts to produce a reddish solution, of which higher-ranked coals do not. When brown coal is pulverised and burned in boilers, the steam is used to drive turbines, which generates electricity. It is the lowest rank of coal, as when burned, it creates a relatively low heat content, which in turn does not create a great output of steam. burke museum, beechworth, indigo shire, beechworth museum, geological, geological specimen, mineralogy, brown coal, brown coal specimen, lignite, lal lal, lal lal coal mine, lal lal iron mine, ballarat, blast furnace -
Melbourne Legacy
Document, Intermediate Legacy Club. Application for Membership
A form for application for membership to the ILC. It shows the declaration required by the nominator and candidate. Background: The ILC was formed in 1929. The idea of the club sprang from those boys who had outgrown the Junior Legacy Club. In the early days it fielded a lacrosse team and it was this that mainly held the members together. Enthusiasm wained after a few years as it lacked a solid objective. The answer came from one of its members and in 1938 they founded the Don Esses Club. This was a club for the children of incapacitated ex-servicemen which met every Thursday night at 7.30 run by the ILC members. The name came from the signallers' code Disabled Servicemen's Sons. During the second world war 80% of the members of the ILC enlisted in the services. Leaving only 8 members that could not join due to ill health or reserved occupations. They continued the Don Esses and whatever aid they could to Legacy. ILC members had always helped Legacy where possible including being camp leaders or camp staff, with the annual demonstrations, and coffee stalls at the ANZAC dawn service. Post second world war some ILC members were nominated into Legacy, others drifted away in civil occupations. It was found difficult to recruit new blood into the ILC and eventually membership waned when the boys from the Don Esses clubs found other youth activities to join. The ILC ceased to meet regularly in the mid fifties. However a strong comradeship still existed between members and they would meet in one anothers homes. Members were always ready to help the senior Legacy Club in any way in their power and still helped at Christmas parties and summer camps. ILC was a service rendering organisation and was self governing. Non-sectarian and non-political, the members were ex-junior legatees over 18 years of age. After serving in World War 2 members were eligible to become members of Legacy. Was in a folder of material collated about the ILC by an early archive committee. An example of the formality of membership required to be part of the Intermediate Legacy Club. The ILC was active from 1929 to 1974.White foolscap application form with black type for membership of the ILC.ilc, membership, junior legatee -
Ballarat Tramway Museum
Photograph - Black and White photograph/s - mounted
Mounted black and white photograph of 19 uniformed ESCo employees and two or three non-uniformed employees in front of the Australian Tramway Employees Association (Employees) Banner possibly at the time of a Union or Labor Day Parade, Ballarat. Photograph 145H x 189W. The banner contains a painted image of Prahran and Malvern Municipal Tramways, (PMTT) C class No. 30. Date - 1914? Image 1 of the photograph and part of the mounting. Mounting is an embossed cardboard with a raised border and different filigree on either side of the boarder. Cardboard has a light grey colour finish. On the bottom right hand side is the photographers name "T.C. Owen, 609 Sturt St. Ballarat". Image 2 - mounting and photograph showing general condition of the mounting. See Tramways of the Golden City (Ballarat History) notes AETA formed November 1910.On rear in pencil "9095" in pencil in the middle of the mounting and "1914" in ink on the right hand upper side of the mounting.trams, tramways, atea, unions, parades, esco -
Bendigo Historical Society Inc.
Domestic object - Cast Iron Kettle with non-matching lid
This kettle was made in the 1880s.Cast iron kettle 16 centimetres diameter at its base and 18 centimeters diameter at its widest point 11 centimeters above the base, it then curves up another three centimetres where there is a ten centimetre diameter hole. A non-matching metal lid with a one and a half centimetre knob covers the hole. Three centimetres from the base of the kettle there is a two and a half centimetre diameter spout which tappers to one and a half centimetres, it's 14 centimetres long and has two bends. A handle is attached to the top of the kettle, it is two centimetres wide, it extends two centimetres straight up at both ends that are 12 centimetres apart then forms an open oval 20 centimetres wide and nine centimetres high, it's one and a half centimetres thick for 11 centimetres at the top and has groves for fingers on the under edge.K23.1kettle, cast iron -
Melbourne Tram Museum
Photograph - Framed Photographs, Stewart Merritt, 1982 or 1983?
Framed three part photograph of tram W2 439 painted by Stewart Merritt, showing the tram along its length. Each photograph along the length of the tram individually presented, but not necessarily lining up. The original prints were scanned and reprinted, but they continue to show the damage. Frame wooden frame, with paper backing and wire hanging strips, clips and felt bumpers in the bottom corners. Was originally framed with a wood half round section, painted brown, glazed, with non-acid free cardboard surround and paper backing but has suffered extensive water damage both to the cardboard and the individual photographs themselves. The photographs were in a deteriorated condition. The item was unglazed at the time of the donation. The Museum had the photographs rescanned and remounted. For the original photographs see Reg Item 4213i1 to 4213i3. Framing work by "Framed by You" in Church St Richmond.trams, tramways, transporting art, ministry for arts, w2 class, tram 439 -
Bendigo Military Museum
Uniform - POLYESTER UNIFORM, ARMY, Australian Defence Industries
1. Shirt - Khaki, polyester/cotton fabric, long sleeves with button cuffs, shoulder epaulettes, two front pockets with button down flap, brown plastic buttons. Cotton manufacturers labels top back of shirt and bottom back of shirt, with black print information. 2. Trousers - Khaki, polyester/cotton fabric, fob pocket, two side pockets, on back pocket with button down flap, metal zipper fly, brown plastic buttons. Three cotton manufacturers labels inside back waistband and back pocket lining with black print information. Polyester lining waistband and pockets. 3. Necktie - khaki cotton knit fabric with unfinished ends. 4. Lanyard - gold cotton cord with knots.Cotton label information - black ink print. 1. Top back of shirt "CLASS - 8405/66 - 017-2261/REGIMENTAL NO./NAME". Bottom back of shirt 'MACHINE WASHABLE/DO NOT BOIL/ DRIP DRY/ WARM IRON/ SALIO/ VICTORIA, 1966^" 2. Back right inside waistband "REGIMENTAL NO./ NAME". Back left inside waistband "Dry clean only/ repress on original creases/ use damp cloth or medium/TO HOT STEAM IRON/ Mending patch attached". Label on back pocket lining. John Sackville - sons/ -Aust - Pty Ltd/ Victoria 1966/^ size 31 RB/ W.31" 1/L 30 1/2/ CLASS 8405/66-018-5518. uniform, army, polyesters -
Kiewa Valley Historical Society
Bottle - Stain Remover, circa mid to late 1900's
The Trade Mark "Preservene" was registered on 23 June 1914 and traded in that name until 1930 when Cussons Australia Pty Ltd incorporated the name and its products including the Preservene Cloudy Ammonia. The Preservene Company produced a book (19 pages) "The Presevene Method Of Housework" in 1911. This publication was not only a self promotion but also a useful tool for the rural household and commercial enterprises.This bottle is very significant as it details the type of household cleaning methods and products used in the early 1900's up until the mid 1900's, when greater product diversities became available for rural areas. This product was a general cleaning agent that could be used for a variety of household items. It was the one product that "fits all cleaning". This attitude by the manufacturer fits into the mores held by the populous not only in cities but especially in the rural sector. This was an era where the success of a product was measured by the degree of versatility that came with it. The war years, the great depression had a lingering affect upon those who lived through them not to "waste" money on a multitude of products if one product had multiple uses. This was more so in rural areas where semi remote locations (as the case of the Kiewa Valley in the early 1900's) did not have the market place choices of city dwellers.This oblong shaped brown stained bottle has a red,green and faded white label covering 90% of the bottle. The bottle has a screw on lid. The bottle has embossed at the top back "POISON NOT TO BE TAKEN"on front label starting from top down "POISONOUS" IN SMALLER LETTERS "NOT TO BE TAKEN", below in an eclipse red backed sphere "PRESERVENE CLOUDY AMMONIA" below this in smaller print "CONTENTS 15 1/2 ozs", "For Household & Laundry use " below this "Removing stains and clearing Silverware Jewellery Etc". On a slant with green lettering on off white background, "IMPORTANT NOTICE (underlined) NO TOIL PRESERVENE ONLY BOIL(underlined) SOAP". Below within a red dotted boundary "PRODUCED BY Preservene Pty. Ltd. Melbourne Victoria". Below this and in smaller print "This preparation contains not more than 10 percent and not less than 7 percent free ammonia" Both sides of the label detail manufacturers instructions for different applications.laundry cleaners, stain removers, preservene label -
Geoffrey Kaye Museum of Anaesthetic History
Mask, Murray
Seems to be a non- collapsible mask. Otherwise is a similar, thinner variety of Murray's mask, which was used for the administration of choloroform. John Murray was born in England, 1843 and described his wire mask in 1868 as a young chloroformist at Middlesex Hospital. It was wedge-shaped and made of thick wire and designed to be folded. The removable cover was originally made of several layers of flannel. Murray’s mask became very popular, especially in Australia, and was generally used with a single layer of flannel without an aperture or opening, as is this example. John Murray was an enthusiastic and innovative physician who also had an interest in nitrous oxide anaesthesia and conducted a series of experiments with J. Burdon Sanderson on dental patients comparing nitrous oxide to pure nitrogen. His career was short-lived and he died just before his 30th birthday. (Ball, C 1995, 'Cover Note: Murray's Chloroform Mask', Anaesthesia and Intensive Care, Vol. 23, No. 2, pg. 135)Triangular shaped wire mask covered by flannel. The flannel is sewn over frame and stitched around the base and along the vertical wire. The style and shape is similar to Murray's mask, which was used for the administration of chloroform, however this variation is not collapsible like Murray's mask.dr [e.s] holloway, mask, dr j. murray, chloroform -
Stawell Historical Society Inc
Photograph, Mick Walsh, Mick Walsh Stawell Studio Colour Negatives, 1975 to 1986
Negatives from Stawell Photographer. Discarded from Penna Print Ararat. Son contacted and gave approval for Stawell Historical Society to keep them. Only those of a non personal nature scanned. W Pianta Baby Megan Cooper & Rickard Ararat Trots Janet Evans John Shalders 40th Val Wortley 80th Birthday Great Western Cup 1984 Dianne Freeberg & David Wortley Caffrey Family Stawell Motel Dunn Bros New Reservoir Aug 1983 McCanns Val & Max Kennedy & Family Bigmore Family Coopers Cars Walters Wedding Bauer Girls Watchom Leigh McClure Coopers Car Middleton Reunion Carol Cunningham & Rodney Clarke Sue Dunmore Sisters RSL Baby Show 1983 Della Bessingham 4-11-83 Stawell Show 1983 Chas Mangle Cousins Grave Delzotta Car Whelan Pigeons Sharon Hustler & Cliff Naeff Colour negatives of families, weddings and other. Nineteen Lever Arch Folders Mick Walsh 52 Patrick Street Stawellphotography -
Stawell Historical Society Inc
Photograph, Mick Walsh, Mick Walsh Stawell Studio Colour Negatives, 1975 to 1986
Negatives from Stawell Photographer. Discarded from Penna Print Ararat. Son contacted and gave approval for Stawell Historical Society to keep them. Only those of a non personal nature scanned. Byron & Raitt Showgirls 1985 Stawell Show 1985 Glen Dever Pert Funeral & Watkins Grave Football presentation Mine Views of Wonga Cooper Cars Elsie copies of twins Grampians Halls Gap Flower Show Oct 1985 Art Exhibition Old Court House Paul Cooper Car Catherine & David Timms Seppelts Long Service Pam & Ron Matthews Trevor Larkin Motor & Car Lewis McGregor copy H & D Panels Family at 70th Warriors Football Club 85 Flag Raising First Communion 1985 Sonya Stevens & Mark Sullivan Caravan Park Jones Family Heather Streets & David Thomas Car Ian McIntosh Helen Traynor & Eddie Osborne Colour negatives of families, weddings and other. Nineteen Lever Arch Folders Mick Walsh 52 Patrick Street Stawellphotography -
Vision Australia
Container - Object, Donation tin - round RVIB circa 1980's, 1980s
Coin collections have a long and varied history. Coins were often collected in churches in a box located near the entrance/exit, and later via a collection plate that was passed amongst the congregation Funds were used to repair the church or feed the poorest of the parish. The donation of coins is and was considered part of religious life and mentioned in Christian, Jewish and Islamic texts. With the need and expansion of charitable works occurring outside religious life, charity boxes began to spread into hospitals, orphanages and asylums. The need for non-fixed boxes grew with the rise in charities and their activities outside a fixed building. Collection boxes could be large (and therefore hard to move) or could be held by individuals acting as collection agents, working at a specific location, moving between dwellings or at events. In this example, the RVIB tin could be used gathering coins at events such as Carols by Candlelight, White Cane day or other special marketing days.1 metal coin collection tin with handle and paper wrapYour Donation Supports the Work of The Royal Victorian Institute for the Blind RVIB lighthouse logo 557 St Kilda Road, Melbourne, Telephone 9529 3544royal victorian institute for the blind, equipment -
Vision Australia
Functional object - Object, Donation tin - rectangular tin RVIB wrapper around Blind Babies tin, circa 1945
Coin collections have a long and varied history. Coins were often collected in churches in a box located near the entrance/exit, and later via a collection plate that was passed amongst the congregation Funds were used to repair the church or feed the poorest of the parish. The donation of coins is and was considered part of religious life and mentioned in Christian, Jewish and Islamic texts. With the need and expansion of charitable works occurring outside religious life, charity boxes began to spread into hospitals, orphanages and asylums. The need for non-fixed boxes grew with the rise in charities and their activities outside a fixed building. Collection boxes could be large (and therefore hard to move) or could be held by individuals acting as collection agents, working at a specific location, moving between dwellings or at events. In this example, the older Blind Babies tin has been wrapped with a modern RVIB wrapper, which could be used at Carols by Candlelight, White Cane day or other special marketing days.1 metal coin collection tin with paper wrapWrapper: Your Donation Supports the Work of the Royal Victorian Institute for the Blind RVIB lighthouse logo 557 St Kilda Road, Melbourne, Telephone 9577 3341 Old label Front: For the Blind Babies Children and Adults of the Royal Victorian Institute for the Blind 557 St Kilda Road, Prahran Side: As a thanksgiving for sight! (Drawing of a man holding his hand to his eyes as a blast occurs in front of him, pushing small objects towards his body) It might hit You or Me! Side: As a thanksgiving for sight! (Elaine Leahy facing towards the RVIB gates). The gates of the Institute are always open to welcome all eligible blind babies, children and adults who seek, and never fail to receive, its aid.royal victorian institute for the blind, fundraising -
Vision Australia
Functional object - Object, Donation tin - rectangular tin Blind Babies wrapper, circa 1945
Coin collections have a long and varied history. Coins were often collected in churches in a box located near the entrance/exit, and later via a collection plate that was passed amongst the congregation Funds were used to repair the church or feed the poorest of the parish. The donation of coins is and was considered part of religious life and mentioned in Christian, Jewish and Islamic texts. With the need and expansion of charitable works occurring outside religious life, charity boxes began to spread into hospitals, orphanages and asylums. The need for non-fixed boxes grew with the rise in charities and their activities outside a fixed building. Collection boxes could be large (and therefore hard to move) or could be held by individuals acting as collection agents, working at a specific location, moving between dwellings or at events. In this example, the Blind Babies tin could have be used at Carols by Candlelight, White Cane day or other special marketing days.3 metal coin collection tin with paper wrapFront: For the Blind Babies Children and Adults of the Royal Victorian Institute for the Blind 557 St Kilda Road, Prahran Side: As a thanksgiving for sight! (Drawing of a man holding his hand to his eyes as a blast occurs in front of him, pushing small objects towards his body) It might hit You or Me! Side: As a thanksgiving for sight! (Elaine Leahy facing towards the RVIB gates). The gates of the Institute are always open to welcome all eligible blind babies, children and adults who seek, and never fail to receive, its aid.royal victorian institute for the blind, fundraising -
Federation University Art Collection
Painting - Artwork - Painting, 'Strive & Grow, Thrive & Flow' by leni
leni (1960s- ) Born Melbourne Wotjobaluk "leni is both a long story and a short life. A Wotjobaluk woman, born in Melbourne in the sixties, adopted into a non-Aboriginal family and raised by true destiny on country in the Wimmera. leni was reunited with her mother and extended family in her late teens. Simple swift sentences with complex challenging undertones. Thus began an ever evolving and endlessly deep cultural and personal exploration which has passionately consumed, confused, enticed and enriched her since. leni’s creativity is inspired strongly by her cross cultural heritage, learnings and loves, failures and fears, passions and dreamings. This artwork has its own determination and authenticity. leni’s work constantly explores concepts of the past and present. leni has exhibited in the Koorie Heritage Trust, The Convent Gallery, Kirret Barreet Gallery, Gallery on Sturt, Tussock Gallery and others. Her work has been commissioned by various organisations, public and private collectors.A triptych commissioned for the Federation University Mt Helen A-Building Staircase.aboriginal, abstract -
Federation University Art Collection
Painting - Artwork - Painting, 'The heart's path' by leni, 2019
leni (1960s- ) Born Melbourne Wotjobaluk "leni is both a long story and a short life. A Wotjobaluk woman, born in Melbourne in the sixties, adopted into a non-Aboriginal family and raised by true destiny on country in the Wimmera. leni was reunited with her mother and extended family in her late teens. Simple swift sentences with complex challenging undertones. Thus began an ever evolving and endlessly deep cultural and personal exploration which has passionately consumed, confused, enticed and enriched her since. leni’s creativity is inspired strongly by her cross cultural heritage, learnings and loves, failures and fears, passions and dreamings. This artwork has its own determination and authenticity. leni’s work constantly explores concepts of the past and present. leni has exhibited in the Koorie Heritage Trust, The Convent Gallery, Kirret Barreet Gallery, Gallery on Sturt, Tussock Gallery and others. Her work has been commissioned by various organisations, public and private collectors.aboriginal, aboriignal education centre collection -
Federation University Art Collection
Painting - Artwork - Painting, ''future days" by leni, 2019
leni (1960s- ) Born Melbourne Wotjobaluk "leni is both a long story and a short life. A Wotjobaluk woman, born in Melbourne in the sixties, adopted into a non-Aboriginal family and raised by true destiny on country in the Wimmera. leni was reunited with her mother and extended family in her late teens. Simple swift sentences with complex challenging undertones. Thus began an ever evolving and endlessly deep cultural and personal exploration which has passionately consumed, confused, enticed and enriched her since. leni’s creativity is inspired strongly by her cross cultural heritage, learnings and loves, failures and fears, passions and dreamings. This artwork has its own determination and authenticity. leni’s work constantly explores concepts of the past and present. leni has exhibited in the Koorie Heritage Trust, The Convent Gallery, Kirret Barreet Gallery, Gallery on Sturt, Tussock Gallery and others. Her work has been commissioned by various organisations, public and private collectors.aboriginal, aboriginal education centre collection -
Federation University Art Collection
Painting - Artwork, ''calm and clear" by leni, 2019
leni (1960s- ) Born Melbourne Wotjobaluk "leni is both a long story and a short life. A Wotjobaluk woman, born in Melbourne in the sixties, adopted into a non-Aboriginal family and raised by true destiny on country in the Wimmera. leni was reunited with her mother and extended family in her late teens. Simple swift sentences with complex challenging undertones. Thus began an ever evolving and endlessly deep cultural and personal exploration which has passionately consumed, confused, enticed and enriched her since. leni’s creativity is inspired strongly by her cross cultural heritage, learnings and loves, failures and fears, passions and dreamings. This artwork has its own determination and authenticity. leni’s work constantly explores concepts of the past and present. leni has exhibited in the Koorie Heritage Trust, The Convent Gallery, Kirret Barreet Gallery, Gallery on Sturt, Tussock Gallery and others. Her work has been commissioned by various organisations, public and private collectors.aboriginal, aboriginal education centre collection -
Merri-bek City Council
Gloss enamel painted paper collage, Louise Paramor, Boomtown, 2016
Louise Paramor says, “I just love colour and playing around with it, it makes me feel good. I get a kick out of harmonising colour in conjunction with form. I think if there was more finely tuned colour in the world it would be a better place. There exists a lot of untamed colour in the everyday and to me this is often creates a feeling that is the opposite of uplifting.” In this work, Paramor creates a utopian building from collaged pieces of paper, which have been painted in planes of coloured enamel. Often these collages become sculptures, for which Paramor is mainly known. Andy Gomez writes of Boomtown, “Louise Paramor invites us into her own fabricated domain, where colours are coherent and vivid, buildings are unique and non-conformist, where public sculpture exists for the sake of form, colour, line, and levity. There is an inherent optimism at work here, exalting the accomplishments and ingenuity of the urban sprawl and the enforced participation of a shared culture and experience that offers.”