Showing 1678 items matching "museum exhibits"
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Merri-bek City CouncilCeramic - Ceramic, acrylic paint, gold lustre and mix media, Bundit Puangthong et al, FLESH, 2018
In creating these pieces, Vipoo Srivilasa initiated the process by sculpting three figures with bare surfaces. Bundit Puangthong then added his artistic touch by painting each sculpture. The artists' conceptual visions harmonized perfectly, especially considering their shared commitment to Buddhist principles, which frequently inspire their respective artistic practices. After Bundit completed his painting, Vipoo enlivened the pieces by adding eyes to the figures. He also embellished the works with pom-poms, lending them a softness that makes them appear both approachable and innocent, despite the weightiness of their themes. Each sculpture embodies a specific teaching from Buddhism: "FLESH" features a golden umbrella, serving as a metaphor for sex. -
National Wool MuseumSculpture - The Wreck of Hope, Michele Beevors, 2014
... of its most prestigious, art schools. Beevors has exhibited... of its most prestigious, art schools. Beevors has exhibited ...The Wreck of Hope (Long-nosed Common Dolphin skeleton, Delphinus delphis) featured as part of the exhibition Anatomy Lessons, shown at the National Wool Museum in 2024. The exhibition featured meticulously-sculpted, life size skeletons, making visitors question their place in this web of the living and the dead. From a towering giraffe stretching 4.4 metres in height, to an army of over 50 delicately rendered frogs, this exhibition was enthralling in scale. Each sculpture is an accurate portrayal of a real animal and is carefully measured, drawn, and moulded from steel, wire, and foam. The frame is then intricately knitted over to create these thought-provoking pieces. Each sculpture tells a story, one of the collection of animals by museums and collectors, of Western safari hunters, of human encroachment, and of the often-sad role of the animals in our lives. These underlying concepts are explored and reflected by the materials used. Wool, that speaks of warmth, of comfort, of care, meets the size, grace, and sheer breathtaking beauty of the pieces, clashing with the hard and complex stories beneath. This knitted dolphin skeleton was the start of Beevor's interest in comparative anatomy. Beevors recalls viewing a dolphin, one of many skeletons alongside a mouse and a lion in the Australian Museum's collection during a school visit in the 1970s. At the time, school children watched TV reruns of 'Flipper', which portrayed dolphins as intelligent and noble animals. Elsewhere, the conservation movement was growing, and appeals to protect marine mammals were gaining momentum through the 'Save the Whales' campaign. The fascination with live dolphin shows had grown throughout the 1960s and 1970s and the ethics began to be questioned. Some believe they played an important role in raising public awareness of cetaceans and their welfare. Others argued the performances glorified the dominance of heroic trainers over the subordinate dolphin, and offered little education about the dolphins' natural characteristics nor prioritised their welfare. Many of these facilities are now closed and all dolphin species are protected by international accords aimed at conserving wild populations. Despite this dolphins are still at risk of swallowing plastic waste, mercury toxicity, toxoplasmosis, boat impacts and being bycatch in commercial fishing operations. Originally from Australia, Michele Beevors has been practicing in New Zealand for the last 20 years. She is Head of Sculpture at Dunedin School of Art, Otago Polytechnic, New Zealand’s oldest, and one of its most prestigious, art schools. Beevors has exhibited in galleries, museums, and exhibition spaces in across New Zealand, Australia and Vienna with art that is defiant, unconventional, and moving.Life sized knitted skeleton of a dolphin, with white wool and internal steel, foam and wire frame. The dolphin is mounted on a wooden base, made from a desk, with books placed under the desk lid. The books and desk are painted black.knitting, art, dolphin, conservation, sculpture, skeletons, anatomy lessons, michele beevors -
National Wool MuseumSculpture - Angel, Michele Beevors, 2016
... of its most prestigious, art schools. Beevors has exhibited... of its most prestigious, art schools. Beevors has exhibited ...Angel featured as part of the exhibition Anatomy Lessons, shown at the National Wool Museum in 2024. The exhibition featured meticulously-sculpted, life size skeletons, making visitors question their place in this web of the living and the dead. From a towering giraffe stretching 4.4 metres in height, to an army of over 50 delicately rendered frogs, this exhibition was enthralling in scale. Each sculpture is an accurate portrayal of a real animal and is carefully measured, drawn, and moulded from steel, wire, and foam. The frame is then intricately knitted over to create these thought-provoking pieces. Each sculpture tells a story, one of the collection of animals by museums and collectors, of Western safari hunters, of human encroachment, and of the often-sad role of the animals in our lives. These underlying concepts are explored and reflected by the materials used. Wool, that speaks of warmth, of comfort, of care, meets the size, grace, and sheer breathtaking beauty of the pieces, clashing with the hard and complex stories beneath. The smallest of Beevors’ knitted pieces was made while reflecting on the global tropical fish trade. At the time, press reports predicted that the imminent release of the film ‘Finding Dory’ would increase demand for pet tropical fish. People enjoy a good fish story, but studies have revealed that widespread reports of the ‘Nemo Effect’ following the debut of the film’s predecessor, ‘Finding Nemo’, were exaggerated. Data collected to assess people’s interest in blue tang, the species of the title character in ‘Finding Dory’, revealed an increase in online searches for “blue tang”, but no evidence of an increase in their trade or visits to public aquariums to observe them. When discussing the action and attitude effects of pop culture depictions of animals, it is necessary to investigate evidence-based material. Pop culture, wildlife documentaries, web videos, blogs, and news stories: there is a great ocean of content to consume, but the mechanisms by which witnessing these representations of animals and nature leads to tangible behaviour change, positive or bad, individual and social, remains poorly understood. In a world inundated with messaging and content, could a simple phrase like “fish are friends, not food” influence attitudes? Originally from Australia, Michele Beevors has been practicing in New Zealand for the last 20 years. She is Head of Sculpture at Dunedin School of Art, Otago Polytechnic, New Zealand’s oldest, and one of its most prestigious, art schools. Beevors has exhibited in galleries, museums, and exhibition spaces in across New Zealand, Australia and Vienna with art that is defiant, unconventional, and moving.Knitted white woollen fish skeleton, with black pupil.knitting, art, conservation, sculpture, skeletons, anatomy lessons, michele beevors, fish, angel fish -
Royal Australasian College of Surgeons Museum and ArchivesPlaque - Shield, Elkington & Co, Milton Shield, 1867
The Milton Shield was given to the College in 1968 by the eminent Sydney surgeon Conrad Blakemore (1898-1976), whose family had owned it for almost 100 years. There are three known examples of this Shield in Australia. They are electrotype reproductions made by Elkington & Co. of an original created by Léonard Morel-Ladeuil between 1864 and 1866, and exhibited in Paris at the Exposition Universelle of 1867. The original is made of silver and damascened iron, measures 880mm by 630mm, and is now in the Victoria & Albert Museum in London.There are three known examples of this Shield in Australia. They are electrotype reproductions made by Elkington & Co. of an original created by Léonard Morel-Ladeuil between 1864 and 1866, and exhibited in Paris at the Exposition Universelle of 1867. The original is made of silver and damascened iron, measures 880mm by 630mm, and is now in the Victoria & Albert Museum in London.The Shield is oval in shape, and is divided into several fields, each of which shows a different scene. The entire surface is covered in floral and animal decoration, and patterns. A cable moulding runs around the outer edge. The College’s Shield is set in a heavy timber frame bordered with red velvet and glazed.The central area is circular, depicting the archangel Raphael telling the story of the war in Heaven to Adam and Eve in the Garden of Eden. Immediately below this is the figure of the archangel Michael trampling on the defeated Satan. At the bottom of the shield are two figures representing Sin and Death. On either side of the central circle is a kidney-shaped field, the one on the left showing the army of the rebel angels assaulting Heaven, and on the right the fall of the rebel angels. At the top of the Shield are figures of cherubim and seraphim. The name of the Shield derives from the scenes on it, illustrating episodes from Paradise Lost by John Milton (1608-1674). Presented by Conrad Blackmoremilton shield, conrad blakemore, 1968, léonard morel-ladeuil -
Sunbury Family History and Heritage Society Inc.Photograph, C Late 1990s
The lady was standing beside a glass case, that was displaying an Aboriginal Ceremonial dress at the 'Wear This' exhibition that was mounted at the George Evans Museum in Sunbury in the late 1990s. The exhibition featured a variety of ceremonial clothing worn by a variety of ethnic groups who lived within the Hume City area.The variety of ceremonial dress displayed at the exhibition showed the number of diverse groups that reside within the City of Hume.A copy of a non-digital coloured photograph of a lady standing next to a glass display case where a ceremonial dress is exhibited. An information board is in the background.'wear this exhibition', hume city council, george evans museum, sunbury -
Flagstaff Hill Maritime Museum and VillageDomestic object - Sewing Machine and case, Joseph Wertheim, late 19th century
Hugo Wertheim (1854-1919), was a merchant and manufacturer and was born on the 12th July 1854 at Lispenhausen, in the German electorate of Hesse-Kassel, son of Meyer Wertheim and his wife Minna, née Heinemann. Hugo reached Melbourne in October 1875. He soon began advertising, from premises at 39 Flinders Lane East, as agent for his father's cousin Joseph Wertheim, a well-established manufacturer of sewing machines. Hugo returned to Germany where he married Joseph Wertheim's daughter Sophie Emilie (1864-1953) on 30 August 1885 at Frankfurt. the couple then came to Melbourne. In a short time, with extensive advertising, Hugo established a substantial business, selling sewing machines, bicycles, pianos and other mechanical devices, under brands such as Wertheim, Electra, Planet, Griffin and Hapsburg. He also mounted elaborate displays at agricultural shows and in 1901 at the Pan American Exposition, Buffalo, United States of America. O. C. Beale worked with him before setting up his own piano business in New South Wales. Hugo continued to own 25 per cent of one of Beale's companies, which became Wertheim's Queensland business. In 1908 Wertheim opened a large, innovative piano factory at Richmond, Melbourne, intending to produce 2000 pianos and player pianos annually, predominantly using Australian materials. In laying the foundation stone, Prime Minister Alfred Deakin observed that “few men with such opportunities for a life of ease would have embarked on such an enterprise” Hugo died of chronic hepatitis on 11 July 1919 at his home at South Yarra, his wife, two daughters and three sons survived him; Herbert Joseph (1886-1972), the eldest, continued the business. Rupert became a share broker and went on to represent Victoria in inter-State tennis in 1913-27 and Australia in Davis Cup matches against Czechoslovakia in 1922. The piano factory closed in 1935, becoming a Heinz food processing plant and in 1955, GTV Channel 9 studios and offices.Early Australians had to be self-reliant in regards to making and mending their clothes and utensils. This sewing machine was one of many items used that exhibit the skill and craftsmanship of the women in these early families. A sewing machine was a necessary part of each home and this item demonstrates how women of the time managed had to become self-reliant in the repair and making of their families clothes to make their household budgets go further.Sewing machine, Wertheim brand “ Syst 182” hand crank operated machine with folding handle, timber case and carry handle. Metal machine is painted black, with remnants of gold, red and green scrolls and floral decoration. Machine has base with inlaid measuring rule across front and 2 holes drilled through the base (perhaps for mounting machine to a bench). Machine tilts open, hinged on one side, after thumb screw is unwound, revealing machine’s workings and serial number. Base has a fitted round, concave, silver metal pin holder with lid that hinges open, and symbol pressed into lid; several pins are inside. Body of machine has brand name transfer across front and oval metal trademark disc on front. Metal sliding covers over footplates have stamped lettering. Timber machine case or cover includes an accessory box with sliding cover and metal hook and eye latch, and inside the box are 23 metal sewing attachments, a disc and a stick of black crayon with maker’s trademark on it paper cover. Workings of machine have seized up. The crayon wrapper has printed on it “For the wonderful Wertheim new family machine made in Germany ‘Syst. 182’”, and the maker’s symbol with “Trademark” beside it. Made for Hugo Wertheim.“WERTHEIM” transfer across front and back of machine body. Cover of pin holder has symbol ‘Wings above a shield’. Maker’s trademark on gold oval disc, “WERTHEIM / FRANCFURT” and picture of a dwarf with a hammer. Left footplate has script “Syst 182”, right footplate has stamp in oval shape “MANUFACTURED IN - - /SPECIALLY FOR / HUGO WERTHEIM” Serial Number “7501”flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, sewing machine, hand crank sewing machine, hugo wertheim, wertheim, clothing manufacturer, sewing, syst 182 -
Melbourne Tram MuseumPamphlet, Tramway Museum Society of Victoria (TMSV), "Victoria's tramway museum", mid 1970's to July 1982
Set of two pamphlets or booklets, titled "Victoria's tramway museum", providing details of the Tramway Museum Society's TMSV collection, the site and its exhibits and a brief time line history of Victoria's tramways and a location map on the rear cover. See Reg Item 5151 for a print of the photograph that was cropped for the front cover. .1 - 12 pages -folded A5 size - white cover - centre stapled - has a photo of the Royal Park horse tram operating on the Bylands site - mid 1970's? See Reg Item 5151 for a print of the photograph that was cropped for the front cover. .2 - 12 pages - folded A5 size - blue cover, white sheets internally - centre stapled - has the TMSV logo on the front cover - late 1970's. .3 - as above, white cover with an tram front image on the front cover, has "Interim edition July 1983 - internal connects the same as .1.1601.2 - has a price lable of 20c on the front cover.trams, tramways, tmsv, bylands, museums, horse trams -
Melbourne Tram MuseumDocument - Personal Papers, John Prideaux, "Private Industry Preference", Feb. 1979
Sheet of plain paper with two extracts from a newspaper calling tenders for seat cushions, Laminex sheets and tram stop and bus stop signs - dated Jan / Feb. 1979 - signed by R. W. Brown as Acting Secretary for the MMTB stapled to the paper. Has notes "Private Industry Preference", "Exhibit A" and "Exhibit B" and "Preston W'shop to miss out on work?"Has notes "Private Industry Preference", "Exhibit A" and "Exhibit B" and "Preston W'shop to miss out on work?"trams, tramways, workshops, employment, tenders, signs -
Melbourne Tram MuseumNewspaper, The Age, "Treasure House of history to shed light on millions of museum's secrets", 8/03/2008 12:00:00 AM
Newspaper clipping from The Age, Saturday 8/3/2008, titled "Treasure House of history to shed light on millions of museum's secrets", reporting on the Museum's intention to show more of its exhibits. Features a photo of the Flying Tram - 2006, that was used in the opening of the Commonwealth Games and other objects. Quotes Museum Director, Dr Patrick Greene and Vegan McMasters of the Museum. Item written by Chee Lung with photos by Andrew De La Rue.Keith has written in ink "This opportunity is not the one we visited in '05 which has a cable tram (front half only)".trams, tramways, commonwealth games, museums, events, w class, tram 2006 -
Melbourne Tram MuseumBook, Mr Justice Cussen, "1916 The Melbourne Tramway & Omnibus Company Limited and Tramway Board Arbitration - Report of Proceedings before His Honor Mr. Justice Cussen", 1916
Book or Transcript - bound with hard blue cover, end papers, ~400 foolscap pages, titled in gold block on front and spine - ""1916 The Melbourne Tramway & Omnibus Company Limited and Tramway Board Arbitration - Report of Proceedings before His Honor Mr. Justice Cussen". Provides the transcript only of the proceedings, not the exhibits or any diagrams, listings.trams, tramways, mto co, tramway board, tb, cable trams, arbitration -
Melbourne Tram MuseumBook, Melbourne & Metropolitan Tramways Board (MMTB), "Melbourne and Metropolitan Tramways Board - Rules, Regulations", 1974
Book - brown Rexene covers, with title - "Melbourne and Metropolitan Tramways Board - Rules, Regulations". single section, sewn into covers, dated 30/5/1957. Sixty Eight pages plus covers. Book numbered "866". Has numerous pasted in updates. Provides rules for both tramway and motor bus operations, has index pages. Provides common rules, and rules specific to buses and trams. At rear is MMTB By-Law 11, dated 1951, and By-Law 16 for lost property. Last two pages provide copy of Certificate of Service. Has been punched on the left hand side with three holes - indicating a possible court document.Marked "Exhibit 17" in ink on front cover.trams, tramways, mmtb, rules, regulations -
Melbourne Tram MuseumMagazine, Michael Davie, "Gateway - Autumn 1995", "The Lucky City", 1995
Autumn 1995 issue of Gateway with a trammie (Roberto D'Andrea) leaning from 870 on the front cover. Contains an article "The Lucky City", written by Michael Davie about Melbourne and its city, in particular its trams. Has a photo of a City Circle tram (866) on page 22. Gateway published the Federal Airports Corporation as an inbound magazine for overseas travellers. In an email from Roberto 2/10/2014 - "G'day Warren, Yes indeed the Gateway Magazine with a younger Roberto at South Depot. Brings to mind that South Depot did the bulk of the tramways media through the 90s until closure. On the list of programs I have in the archive is Totally Wild (Channel 10), Monty the Weatherman did 4 crosses live (Channel 9), 7.30 Reports (ABC), we hosted 4 Corners around the network and a few other programs on Channel 7. Plenty of newspapers and radio. Handy with a close to city location the PTC sent the media to South for tram stories. I have the 6 Trammie banners from the Trammies Exhibition at the Immigration Museum where we worked together back in 2003. I've used them occasionally and may need them for a tram presentation in March next year....would they be handy as a part of a exhibit at Hawthorn? The Connies are still going strong....festivals and events, sometimes in schools and we've co-funded 2 tram festivals in Kolkata with the Calcutta Tramways in 2012 and 2013....environment central to the themes. Kevin keeps me posted on how things are going at Hawthorn. I met Doug Prosser at Hawthorn a few months ago and all looking good. Kevin sends me copies of The Bellcord....and just last week I was on the Hawthorn Museum website reading about the Box Hill - Doncaster Tram for a Connie performance in Box Hill late in November. Regards - Roberto www.connies.com.au www.tramconductors.net www.tramjatra.net"trams, tramways, city circle, melbourne, tramways, tram 870, tram 866 -
Flagstaff Hill Maritime Museum and VillageInstrument - Chronometer or Marine Clock
This chronometer was made around 1936 and has been on display at Flagstaff Hill for over 40 years as part of the exhibit of the ‘Reginald M’, an Australian-built, 19ss, coastal trader vessel. A chronometer is an accurate mechanical instrument used for measuring time. It is constructed carefully to remain stable even under the changing conditions of seafaring life such as temperature, humidity and air pressure. The Master or Navigator of a ship could use the chronometer and the positions of celestial bodies to calculate the ship’s latitude at sea. In 1905 the business Chronometerwerke GmbH was formed in Frankfurt, Germany, to supply the country with high-quality mechanical chronometers and ship clocks for their maritime trade, making the country independent of other international suppliers such as those in England. In 1938 the firm was renamed Wempe Chronometerwerke. The business continues today. Its products now include its well-known chronometers, battery-powered ship clocks, ship’s bell clocks, barometers, barographs, thermometers, hygrometers, comfort meters to measure temperature and humidity, and wristwatches. The company also performs chronometer testing facilities for the State’s Weights and Measures office. The article written by Givi in July 2022 “The Basics of Marine Meteorology – a Guide for Seafarers” refers to the weather’s signs and patterns being repeated over and over, and the recording of these observations helps forecasters predict changes in the weather. The chronometer is an example of a mechanical navigational marine instrument in use in the early to the mid-20th century. The maker is significant as part of a German government initiative to be self-sufficient in the production of good quality marine technology. This chronometer is significant as part of the exhibit, the Australian-built vessel, 1922 coastal trader ‘Reginald M’, listed on the Australian Register of Historic Vessels and on display for over 40 years.Marine chronometer or marine clock, brass case, glass cover, Roman numerals, 24-hour numbers beside them. Two black hands, a keyhole for winding and ventilation holes in the side. The base has a collar with four machined mounting holes. Inscriptions are on the clock’s face."Made in Germany" and "WEMPE / CHRONOMETERWERKE / HAMBURG"flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, marine meteorology, horology, chronometer, marine technology, latitude, marine navigation, mechanical instrument, scientific instrument, ship clock, chromometerwerke gmbh, wempe chronometerwerke, marine clock -
Flagstaff Hill Maritime Museum and VillageSouvenir - Wood Sample, Alexander Stephen and Sons, 1869
This teak wood sample was part of a handrail from the wreck of the ship Otago. The Otago 1869-1931 The iron-hulled 3-masted barque Otago was built in Glasgow by Alexander Stephen & Sons Ltd, Kelvinhaugh, as a merchant ship and launched in 1869. The vessel changed hands several times in the late 19th century after being sold to an Australian firm in 1871. During one of its voyages, the captain died while the ship was in port at Bangkok. Marine author Joseph Conrad was on board and, being a qualified captain, he took command and continued the journey to Sydney and Mauritius. It was the only ship he ever commanded. In 1903 the Melbourne shipping company Huddart, Parko & Co., purchased the Otago and converted it to serve as a coal hulk for use in Sydney. The Otago was later sent to Hobart, Tasmania, where it continued as a hulk until 1931. It was sold for scrap and eventually abandoned on the banks of the Derwent River at a place now known as Otago Bay, opposite Conrad Drive, Otago. The outline of the hull is still visible and a nearby plaque tells the story. There are other vessels also named Otago, one of them in the same year. Joseph Conrad (1857-1927): - Polish-born Joseph Conrad became a British subject in 1886. He was a renowned marine fiction writer and, for a short time, a mariner and Captain. As a 13-year-old boy, Joseph Conrad desired to be a sailor. At 19, he joined the British merchant marine, working in several roles. He eventually qualified as a captain but only served in this role once: from 1888 to 1889, when he commanded the barque Otago, taking over from the deceased captain and completing the ship’s journey from Sydney to Mauritius. In 1889 he began writing his first novel, Almayer’s Folly. He retired from life as a mariner in 1894, aged 36. Conrad’s affection for Australia and his visits to Australia from 1878 to 1982 were later commemorated by a plaque in Circular Quay, Sydney. Conrad continued as an author; some characters in his books were said to be inspired by his maritime experiences and the people he had met. By the end of his life, he had completed 19 novels, many stories, and essays, plus one incomplete novel, Suspense, which was finished and published posthumously. In 1924, Prime Minister Ramsay MacDonald offered Conrad a knighthood for his work but he declined. There is an 1882 sailing ship named the Joseph Conrad, after the author, that is now preserved at the Mystic Seaport Maritime Museum in the USA as part of the fleet of historic ships, used as an exhibit and a training ship. The Danish square-rigged training ship was originally named Georg Stage but was renamed by marine author Alan Villiers when he bought It in 1934. The wood sample from the Otago is significant for its association with renowned marine author Joseph Conrad, who had once commanded the vessel; it was his only command as Captain and was known as Joseph Conrad's Otago. The maritime connection with Conrad extends to items in the collection, including some of his maritime novels based on his first-hand knowledge, a wooden ship model of a ship named after him, and a navigation chart of Otago Harbour. The sample of teak is significant as an example of materials used in the construction of the 1869 iron-hulled sailing ship, built in Glasgow, Scotland, specifically for use to sail across the world with cargo to trade between the colonies including Australian ports. Wood sample; a rectangular section of a teak wood handrail that has a bead planed along one side. Two cards with the sample have inscriptions, one handwritten and one typed. The sample is from the wreck of the barque Otago, once under the command of Captain Joseph Conrad. Handwritten card: "PART OF TEAK HANDRAIL / from / Joseph CONRAD'S ship / OTAGO / (HULK at RISDON, DERWENT River, TASMANIA) Typed card: "PART OF THE TEAK HANDRAIL / FROM JOSEPH CONRAD'S SHIP / "OTAGO" / (HILK AT RISDON, DERWENT / RIVER, TASMANIA)"flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, joseph conrad, joseph conrad's ship, captain joseph conrad, otago, barque otago, merchant ship, cargo ship, hulk, 1869 ship, iron hull, sailing ship, handrail, fitting, souvenir, wood sample, teak, new zealand, sydney, newcastle, tasmania, hobart, derwent river, otago harbour, otago bay, conrad drive, 19th century, mauritius, marine author, marine novel, alex villiers, georg stage -
Port Melbourne Historical & Preservation SocietyDocument - Exhibition catalogue, Sue Grieve, Museum of Victoria, 'Cheer Up Children, an exhibition of watercolours', 1986
'Cheer Up Children', an exhibition of watercolours painted in 1910 for children in hospital: 12 page catalogue of paintings form the Prince Henry's Hospital Collection, exhibited 1986 at the Thorpe Gallery of the Museum of Victoriahealth - hospitals, arts and entertainment - visual arts, celebrations fetes and exhibitions, marjorie williams, prince henrys hospital, melbourne homeopathic hospital -
Bendigo Historical Society Inc.Document - VICTORIA HILL - THE BENDIGO DIGGINGS, PRELIMINARY DRAFT FOR BROCHURE
BHS CollectionNine typed pages of notes on a preliminary draft for a brochure on the Bendigo Diggings. First part is the objective which is to preserve the mining history and to have exhibits in the places they were used, e.g. quartz mining machinery exhibited in a quartz mining area, not on an alluvial field. Part B is historical notes on the area. Part C is the Site - Victoria Hill area. Part D is Stage One which consists of carpark area, technological museum, restaurant, mineral haulage line, picnic ground, earthworks and planting over the area. Part E is Stage Two which will consist of the open-air exhibits, in the area surrounded by the mineral haulage line, and the Central Nell Gwynne mine on the west side of the site. Part F is Stage Three which will consist of the winery, the steam tram track, the lake, the wildlife sanctuary and various buildings associated with gold mining. Part G is Costing with the prices to be filled in. Parts H and I are the Appeal and the Committee. Details to be filled in. Notes prepared by Albert Richardson.mining, marketing, victoria hill, victoria hill, the bendigo diggings - preliminary draft for brochure, aust national travel association, tullamarine jetport, emu bottom homestead, kyneton historical museum, chinese joss house, eaglehawk museum, whipstick scrub, cairn curran reservoir, castelmaine historical museum and market hall, national trust, ballarat hiatorical park, echuca's hopwood gardens, swan hill folk museum, gibson's mount alexander no 2 squatting run, captain brown, chief commissioner wright, hustler's reef, thomas hustler, mining board, drainage of reefs act 1862, first world war, bendigo amalgamated goldfields, second world war, sandhurst, w c vahland, battery trams, horse trams, steam trams, electric trams, central nell gwynne mine, theodore ballerstadt, george lansell, new chum hill, ballerstadt's open cut, 180 mine, new chum syncline battery, william rae, victoria quartz, wittscheibe's 'jeweller's shop', luffsman and sterry, gold mines hotel, adventure, bendigo and district tourist association, bendigo city council, bendigo branch of the royal historical society of victoria, professor brian lewis, school of architecture and building at the university of melbourne, taylor horsfield, lord robert cecil, south australian gold commissioner -
Flagstaff Hill Maritime Museum and VillagePhotograph - Print of S. S. Rowitta, A.V. Gregory, 1912
S. S. ROWITTA: - The 1909 steam ferry, S. S. Rowitta, was installed as an exhibit at Flagstaff Hill in 1975 and was enjoyed by many visitors for 40 years. S. S. Rowitta was a timber steam ferry built in Hobart in 1909 using planks of Huon and Karri wood. She was a favourite of sightseeing passengers along Tasmania’s Tamar and Derwent rivers for 30 years. The Rowitta was also known as Tarkarri and Sorrento and had worked as a coastal trading vessel between Devonport and Melbourne, and Melbourne Queenscliff and Sorrento. In 1974 the S. S. Rowitta was purchased by Flagstaff Hill to convert into a representation of the Speculant, a historic and locally significant sailing ship listed on the Victorian Heritage Database. (The Speculant was built in Scotland in 1895 and traded timber between the United Kingdom and Russia. Warrnambool’s P J McGennan & Co. then bought the vessel to trade pine timber from New Zealand to Victorian ports and cargo to Melbourne. She was the largest ship registered with Warrnambool as her home port, playing a key role in the early 1900s in the Port of Warrnambool. In 1911, on her way to Melbourne, she was wrecked near Cape Otway. None of the nine crew lost their lives.) The promised funds for converting the S. S. Rowitta into the Speculant were no longer available, so she was restored back to her original configuration. She represented the importance of coastal traders to transport, trade and communication in Australia times before rail and motor vehicles. Sadly, in 2015 the time had come to demolish the Rowitta due to her excessive deterioration and the high cost of on-going repairs. She had given over 100 years of service and pleasure to those who knew her. Arthur Victor Gregory (known as A. V. Gregory) was born in Melbourne in 1867. He was the son of George Frederick Gregory who was an established marine painter with a studio in South Melbourne. A. V. Gregory worked with his father and his elder half-brother (George Frederick Junior). They made numerous photographic reproductions of their ships' portraits, selling the originals to captains and owners and the photographic prints to the crews. A. V. Gregory inherited the business on the death of his father in 1890 and continued to paint until World War 2 when he stopped for wartime security reasons. Gregory worked mainly in watercolour and gouache. He kept all his working sketches so he could repeat earlier paintings and make more copies of the same ship. His carefully detailed portraits of every kind of vessels seen on Port Phillip Bay created a body of work regarded as a valuable record of the maritime traffic of that period.This print is a significant example of the work of the well-known and well-respected marine painter A. V. Gregory who created a detailed record of shipping in the Port Phillip Bay area in the years before W.W. 2. It is also significant as it connects the history of the S. S. Rowitta, which was a large exhibit on display at Flagstaff Hill Maritime Village from the museum’s early beginnings until the vessel’s end of life 40 years later. The S. S. Rowitta represents the importance of coastal traders to transport, trade and communication along the coast of Victoria, between states, and in Australia before rail and motor vehicles and is significant for its association with Tasmanian history from the early to mid-1900s. The vessel was an example of a ferry built in the early 20th century that served many different roles over its lifetime of over 100 years.This is a photograph of a watercolour painting of the S. S. Rowitta. It shows a steamer moving through the water. The ship has a blue, metal hull, a wooden lower and upper deck, a lifeboat and smoke coming out of a chimney. Flags are flying from the bow, the stern and the mast. Seven figures can be seen on the decks. A second boat can be seen in the distance in the far left of the picture. It has the signature "A. V. Gregory - 12" in the bottom left corner and the title "S. S. Rowitta - 121 tns" in the lower right corner.Signed "A. V. Gregory -12-" Titled "The S. S. Rowitta / -121 tns" Printed on the ships' bow - "ROWITTA"flagstaff hill maritime museum and village, warrnambool, great ocean road, shipwreck coast, s. s. rowitta, rowitta, a. v. gregory, painting, marine painting, marine painter, steamer, steam ferry, passenger ferry, alfred gregory, tarkarri, sorrento, speculant, print, photograph -
National Vietnam Veterans Museum (NVVM)Photograph, Gibbons, Denis, West Australian Concert Party
Denis Gibbons (1937 – 2011) Trained with the Australian Army, before travelling to Vietnam in January 1966, Denis stayed with the 1st Australian Task Force in Nui Dat working as a photographer. For almost five years Gibbons toured with nine Australian infantry battalions, posting compelling war images from within many combat zones before being flown out in late November 1970 after sustaining injuries. The images held within the National Vietnam Veterans Museum make up the Gibbons Collection. A black and white photograph of a Trio with the Official Mar-Apr 69 West Australian Concert Party play instrumental rock and roll numbers for the Diggers at 1st Australian Task Force Base Nui Dat, Luscombe Bowl. The variety acts exhibited by the concert party's members was magnificant.photograph, entertainers, west australian concert party, 1 atf, nui dat, luscombe bowl, gibbons collection catalogue, diggers, 1st australian task force, official mar-apr 69 west australian concert party, denis gibbons -
Wyndham Art Gallery (Wyndham City Council)Photograph, Destiny Deacon, Daisy and Heather discuss race, 2016
The sarcastic title of this work pokes fun at the old fashioned idea that race should not be the subject of polite conversation. Deacon uses a white and a Black dolly to represent the unequal power dynamics that exist within Australian society. The dolls stand in for people who, based on the colour of their skin, experience the impact of racial inequality in vastly different ways. The cracked head of the white doll reveals an empty void. Symbolically violent, perhaps this emptiness suggests the dolls will never be able to fully comprehend one another’s experiences.This work was curated in RACE 2016 at Wyndham Art Gallery. Destiny Deacon (1956–2024) was a descendant of the KuKu (Far North Queensland) and Erub/Mer (Torres Strait) people. She exhibited nationally and internationally since the early 1990s in solo and group shows. Deacon held two major retrospectives, in 2004 and 2020, at the Museum of Contemporary Art, Sydney and at the National Gallery of Victoria, Melbourne respectively. Her 2004 survey show, Walk & don’t look blak, toured to the Metropolitan Museum of Photography in Tokyo, the Tjibao Cultural Centre in Noumea, New Caledonia and Wellington City Gallery in New Zealand. In 2022, she was the recipient of the Red Ochre Award for Lifetime Achievement at First Nations Arts Awards. In the same year, Deacon’s work was shown at the Australian Embassy in Paris in an exhibition titled Destiny - The art of Destiny Deacon. In 2023, Deacon was included in the Sharjah Biennial 15, Thinking Historically in the Present, conceived by the late Okwui Enwezor and curated by Hoor Al Qasimi. In 2024, Deacon's work was exhibited in the 24th Biennale of Sydney, Ten Thousand Suns, curated by Cosmin Costinas and Inti Guerrero. Deacon’s work is held in most major public collections in Australia as well as Tate, London, Museum Moderner Kunst (MUMOK), Stifting Ludwig, Vienna, Austria and Museum Sammlung Essl, Austria.first nations photography, australian photography, australian indigenous art, race, racism, colonisation -
Flagstaff Hill Maritime Museum and VillagePhotograph - Vessel, Steam Ship, S.S. Rowitta, Early 20th century
The subject of this photograph is the S.S.Rowilla, a passenger steam ferry built in Hobart for use in Tasmania's rivers, the Derwent and the Tamar. The photograph shows her docked at the Charles Street Wharf in Launceston. The S.S. Rowitta was built by Purdon & Featherstone, at Battery Point, Hobart (Tasmania) in 1909 from Huon Pine and Kauri planking. Her final configuration included three masts and a ship rig. S.S. Rowitta took its first voyage from Hobart to Launceston in 1909 and operated for 30 years as a passenger ferry on the Tamar and Derwent Rivers. She also served as a freighter, an army supply ship, a luxury charter ferry and a floating restaurant as well as a prawn boat at Lakes Entrance. (She has also been named “Sorrento” and “Tarkarri”.). In the very early days of Flagstaff Hill ‘Rowitta’ was purchased from Lakes Entrance by Warrnambool City Council and the Victorian State Government for $20,000. The Rowitta had a hull configuration very similar to a local boat named the SPECULANT, which played a key role in the Port of Warrnambool in the early 1900s. The Speculant was the largest ship ever registered with Warrnambool as her home port. Local owner and trader P J McGennan & Co, (Peter McGennan) used her as a freight carrier to Melbourne and timber trader between New Zealand and Victoria. She sunk at Cape Otway in 1911 on a voyage to Melbourne. In 1974 Rowitta was delivered to Port Fairy and then later sailed to Warrnambool’s Breakwater where she was lifted out of Lady Bay and loaded onto the back of a long transport truck and slowly and carefully driven along Pertobe Road, through the Surfside Caravan Park and over the railway line, into Flagstaff Hill’s Maritime Village. Transfer arrangements were coordinated by Jack Morse, of Morse Engineering, a member of the Flagstaff Hill Planning Board, and Ken Goyen, a local crane operator. The ‘Rowitta’ was originally acquired to be rebuilt to match the original SPECULANT. When finances became tight in 1976 a review of all plans ended in the decision to restore the “Rowitta” to her original configuration. She was then restored, renamed the original name of “Rowitta” and installed in the Village’s Harbour Lake to become one of the popular vessels on display for visitors to enjoy. It was the decision of the Advisory Committee to Flagstaff Hill to have Rowitta demolished in April 2015 due to extensive deterioration. Items associated with the Rowitta continue to be held in Flagstaff Hill Maritime Village’s Collection.The photograph of the passenger ferry S.S. Rowitta.is significant for its association with Tasmanian history from the early to mid-1900s. It is also connected to the history of the Rowitta, which was a large exhibit on display at Flagstaff Hill Maritime Village from the museum’s early beginnings until the vessel’s end of life 40 years later. The Rowitta represents the importance of coastal traders to transport, trade and communication along the coast of Victoria, between states, and in Australia before rail and motor vehicles. The vessel was an example of a ferry built in the early 20th century that served many different roles over its lifetime of over 100 years. Black and white photograph of the steamship S.S. Rowitta at Charles Street Wharf, Launceston. It shows the vessel docked at the Charles Street Wharf in Launceston. Smoke is coming from its funnel and there are people on board. There is a handwritten inscription on the top edge of the photograph. The vessel was built in 1909 by Purdon & Featherstone, Hobart. Blue-green handwriting on top left margin "ROWITTA AT LAUNCESTON"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, photograph, s.s. rowitta, charles street wharf,, launceston., purdon & featherstone, rowitta, tarkarri, speculant, purdon & featherstone of hobart, passenger ferry 1909, sorrento -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Newsletter - City of Moorabbin Historical Society Jun 2011, June 2011
The City of Moorabbin Historical Society was formed c 1960 by a group of Moorabbin residents who were concerned that the history of the area should be preserved. A good response to a call for items related to the historical area of Moorabbin Shire brought donations of a wide variety of artefacts which are now preserved by the current members of CMHS at Box Cottage Museum . Helen Stanley, Secretary of CMHS, began producing a Newsletter for members in April 2007 to provide current information and well researched items of historical interestHelen Stanley has produced a bi-monthly Newsletter, 2007 - 2013, for the members of the City of Moorabbin Historical Society that contains well researched interesting historical items, notification of upcoming events, current advice from Royal Australian Historical Society , Museums Australia Victoria and activities of Local Historical Societies. The Newsletter is an important record of the activities of the CMHS. Mrs Nance Blackman’s notes in 1978 for the Centenary of The Cheltenham Church of Christ.. The Blackman family were early settlers in Moorabbin Shire. 5 x A4 paper printed on 1 side Issue 22 of the bi-monthly, City of Moorabbin Historical Society Newsletter produced by Society member and Secretary, Mrs Helen Stanley in June 2011. Notice of meeting June 26th and CMHS members exhibited some artefacts at the ‘Fun4over50’s’ event at Kingston (Moorabbin ) Town Hall June 5th. Glen Eira City Council Building Dept. Officers inspected erosion along the North side of the Barn floor, members have planted seedlings in the garden and Helen and Joan are entering data about our ‘Collection’ onto the MAV website while Jim Dale has photographed some of the farm machinery. Small paragraphs about early local Religious groups – Salvation Army, Methodist and Presbyterian Ministries – with 2 photocopied photographs. Helen also provides the notes penned by Mrs Nance Blackman in 1978 for the Centenary of The Cheltenham Church of Christ. CITY of MOORABBIN HISTORICAL SOCIETY / JUNE 2011 NEWSLETTER city of moorabbin historical society, stanley helen, melbourne, moorabbin, brighton, cheltenham, ormond, bentleigh, mckinnon, market gardeners, pioneers, early settlers, moorabbin shire, box cottage museum, city of moorabbin, box william, glen eira city council, museums australia victoria, knott peta, church of christ cheltenham, baptist church, presbyterian church. salvation army, jasper road, point nepean road, brewer’s road, redmore rev. james, methodist mission to chinese market gardeners, blackman nance, lydia street bentleigh -
Flagstaff Hill Maritime Museum and VillageCraft - Ship Model, Joseph Conrad, 20th century
... it was transferred to the Mystic Seaport Museum for training use again ...The ship model of the Joseph Conrad represents the craft of ship model making, which has been enjoyed by many people over the years. Although the model is made from modern materials, it shows the elements of a sailing ship of a bygone era. About the sailing ship JOSEPH CONRAD: - The vessel Joseph Conrad began as the Danish iron-hulled sailing ship Georg Stage, launched in 1882. It was used as a training ship for Danish sailors. In 1905, while docked in Copenhagen, the ship was rammed by a larger ship, and 22 boys were killed while sleeping in the hull. The ship was later raised and on guard during World War I. Alan Villiers was an Australian author of seafaring books as well as a sailor. He bought the wooden sailing ship George Stage and renamed it Joseph Conrad in honour of the renowned Polish-born maritime author and once the captain of the barque Otago. In 1934 Villers sailed the ship on a two-year voyage around the world. In 1936, it was sold to an American, who later donated it for use again as a training ship. After World War II the ship was no longer used, and in 1947 it was transferred to the Mystic Seaport Museum for training use again as well as an exhibit. JOSEPH CONRAD (1857-1927): - Joseph Conrad was Polish-born and became a British subject in 1886. He was a renowned marine fiction writer and also, for a short time, a mariner and Captain. As a boy of 13 years old, Joseph Conrad desired to be a sailor. At 19, he joined the British merchant marines, working in several roles. He eventually qualified as a captain but only served in this role once, from 1888-89, when he commanded the barque Otago sailing from Sydney to Mauritius. In 1889 he also began writing his first novel, Almayer’s Folly. He retired from life as a mariner in 1894, aged 36. Conrad’s visits to Australia from 1878 to 1982, and his affection for Australia, were later commemorated by a plaque in Circular Quay, Sydney. Conrad continued as an author. It is said that many of the characters in his books were inspired by his maritime experiences and the people he had met. By the end of his life, he had completed many stories and essays, and 19 novels, plus one incomplete novel titled ‘Suspense’ that was finished and published posthumously. Shortly before he passed away, in 1924, Conrad was offered a Knighthood by Prime Minister Ramsay MacDonald for his work but declined the offer. The ship model represents the design of sailing ships built in the 1880s and can be used as a reference in understanding the construction of the ships of the Victorian era. The model is important for its connection to the vessel Joseph Conrad which was used as a training ship for seafarers, and even now is used to teach maritime skills, as well as an exhibit, in the maritime museum, Mystic Seaport. The model's name is significant for its association of its name with the famed early 20th-century maritime author, Joseph Conrad.Ship model; A three-masted sailing ship named the Joseph Conrad, with cabins on deck, lifeboats, a ladder on the side and a figurehead on the bow. The hull is black at the top and red below. The ship's name is painted on both sides of the bow. JOSEPH CONRADflagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, joseph conrad, captain joseph conrad, maritime author, marine author, nautical author, sailor, seafarer, ship model, two-masted ship, iron hull, sailing ship, georg stage, 1882 ship, danish ship, training ship, boys killed, alan villiers, ship joseph conrad, mystic seaport, museum ship, otago -
Eltham District Historical Society Inc
Document - Folder, Mitchell, Jenni
... in Mongolia, exhibiting at the National Museum of Mongolia. Flier... in Mongolia, exhibiting at the National Museum of Mongolia. Flier ...Jenni Mitchell, daughter of Grace and Arthur Mitchell, is a painter. Contents Newspaper article: "Back to the drawing board", Diamond Valley News, 19 May 1981. Jenni Mitchell's early life. Newspaper article: "Jenni captures the cast and rugged desert", Diamond Valley News, 13 March 1984. Jenni Mitchell's exhibition of Wimmera paintings, 16-25 March 1984. Exhibition list: Jenni Mitchell studio exhibition, ?1984 ?1986. Newspaper article: "Jenni mingles with greats of art world", Diamond Valle News, 29 July 1986. Jenni Mitchell exhibitor in Melbourne Spoleto Festival exhibition, Ross House Gallery, Kew. Newspaper article: "Poet, painter a formidable duo", Diamond Valley News, 28 October 1986. A poem from Cornelis Vieeskens's book and story of connection to Grace Mitchell's art works. Newspaper article: "Eltham artist to stage her 20th solo exhibition", Diamond Valley News, 31 May 1995. Jenni Mitchell's "Survey Exhibition 1975-1995", at Dempsters Fine Art Gallery, Canterbury, opened by poet Judith Rodriguez on 2 June 1995 . Election flier: Jenni Mitchell, candidate for Eltham Council, 1989. Newspaper article: "Aiming to keep history alive", Diamond Valley News, 22 August 1989. Newly elected Eltham Councillor Jenni Mitchell's objectives. Newspaper article: "Poetry in paint", Diamond Valley News, 23 November 1992. Jenni Mitchell's exhibition of Australian contemporary writers at the National Poetry Festival at Montsalvat, December 1992. Newspaper article: "Eltham artist to stage her 20th solo exhibition", Diamond Valley News, 31 May 1995. Jenni Mitchell's exhibition, "Survey Exhibition 1995-1985" at Dempsters Fine Art Gallery, Canterbury, opened 2 June 1995. Newspaper article :Keen to get focus on art again", Diamond Valley News, 6 November 1996. Jenni Mitchell exhibiting in Nillumbik Festival's Artists Open Studios program 1996. Newspaper article: "Rocky mountain high", ?1997. Jenni Mitchell's exhibition of Flinders Ranges work in Mains Restaurant, Eltham ?1997. Newspaper article: "Inspired works", ?1999. Jenni Mitchell's exhibition of works from artist-in-residence at Bundanon and Riversdale, Adam Galleries, Melbourne until 8 September ?1999. Newspaper article: "Gone bush, in search of the still place", The Age, 2 May 2000. Jenni Mitchell's exhibition Portraits of Extraordinary People, Queens Hall, Parliament House until 12 May 2000. Booklet: "Sharing a History, an essay by JHenni Mitchell", produced in association with exhibition Captured at the Eltham Library Community Gallery, 22 February to 3 March 2002 Flier: "Artists Open Studio 2001-2002. Exhibition of artists participating in the Nillumbik Artists Open Studio Program at Eltham Wiregrass Gallery, 21 February to 7 March 2002. Newspaper article: "Not just white in sight", Diamond Valley Leader 3 September 2003. Jenni Mitchell's exhibition "To the Ice, Images from the Antarctic at Montsalvat until 7 October 2003. Newspaper article: "Works are poetry on canvas", Diamond Valley News, 2003. Jenni Mitchell's exhibition 'Desert, Ice and Poetry, at Montsalvat until 12 December 2003. Newspaper article: "In love with a world of ice", Herald Sun, 25 October 2003. Jenni Mitchell's exhibition 'Desert, Ice and Poetry, at Montsalvat until 12 December 2003. Newspaper article: "Display honours artist, wife", Diamond Valley Leader 28 July 2004. Jenni Mitchell had been student of Alan Martin, retrospective exhibition of Martin's work at Eltham Community Centre 31 July to 1 August 2004. Newspaper article: "Portrait due get to the heart of the matter", Diamond Valley Leader, 13 April 2005. Jenni Mitchell painted double portrait of Colin Royse and Allstair Royse for Archibald Prize. Newspaper article: "Brothers impress artist", Diamond Valley Voice 13 April 2005. Jenni Mitchell painted double portrait of Colin Royse and Allstair Royse for Archibald Prize. Newspaper article: "Poles apart but online", Diamond Valley Leader 2005. Jenni Mitchell's journey to the North Pole will have a website set up by Hugh Stubley and Stephen Pearce, Tribity Digital Solutions. Newspaper article: "Going to extremes for ideas", Diamond Valley Leader, 1 June 2005. Jenni Mitchell's exhibition "Images of the Antarctic" at Dickerson Gallery 7 June to 3 July 2005. Newspaper article: "Works are poetry on canvas", Diamond Valley News, ~2005. Jenni Mitchell's exhibition "Desert, Ice and Poetry" at Montsalvat until 12 December 2005. Newspaper article: "Places for painting", Diamond Valley Leader, 2 November 2005. Jenni Mitchell organising plein air painting workshops around Eltham for students. Newspaper article: "Spirit of past inspires artist", Diamond Valley Leader, 1 November 2006. Jenni Mitchell and Mervyn Hannan have opened a studio at Montsalvat, appealing for more volunteers. Newspaper article: "Art in Action", Heidelberg and Valley Weekly, 31 October 2006. Jenni Mitchell and Mervyn Hannan's Working Studio Gallery at Montsalvat. Newspaper article: "Honey lures art taste to sport", Diamond Valley Leader 11 July 2007. Jenni Mitchell's portrait of Gary Honey entered for Basil Sellers Art Prize., on show at Gateway Galleries Eltham as part of her Extra-Ordinary People series. Newspaper article: "Celebrate history and her story", Diamond Valley Leader, 20 February 2008. Jenni Mitchell and Grace Mitchell already nominated for a Nillumbik Women's Network publication. Newspaper article: "Aura of northern lights draws Eltham artist", Diamond Valley Leader, 13 January 2010. NewspaperJenni Mitchel will travel o a Norwegian cruise ship for six weeks. Newspaper article: "Brush with fame", Banyule and Nillumbik Weekly, 28 September 2010. Jenni Mitchell's house and studio, and her exhibition "From the Edge" at Montsalvat until 30 September 2010. Talk flier: "A visual presentation and floor talk" by Jenni Mitchell for her exhibition "From the Edge" 16 September 2010. Exhibtion flier: "From the Edge" exhibition of painting and photography by Jenni Mitchell, Montsalvat 3-30 September 2010. Newspaper article: "Home is where the art is", Diamond Valley Leader, 16 November 2011. Jenni Mitchell's early life with Grace Mitchell, and exhibition as part of Artists Open Studios. Newspaper article: "Artists visit Mongolia", Diamond Valley Leader, 25 April 2012. Jenni Mitchell and Mervyn Hannan will spend seven weeks in Mongolia, exhibiting at the National Museum of Mongolia. Flier: Open Studio, Jenni Mitchell, Mervyn Hannan, Grace Mitchell, 5-6 May 2012. Newspaper article: "Shared love fires artists", Diamond Valley Leader, 4 July 2012. Exhibition of works by Mongolian artist Tugsoyun Sodnom, Jenni Mitchell and Mervyn Hannan at Montsalvat. Newspaper article: "Tribute to an art legend", Diamond Valley Leader, 26 September 2012. Exhibition "Grace Mitchell" A selected Retrospective" to open at South Fine Art Studios and Gallery on 7 October 2012. Newsletter article: "Jenni Mitchell - My mother Grace", Eltham District Historical Society No.207 November 2012. Exhibition notes: "The Retro Eltham Show", Eltham South Fine Art Studios and Gallery, 14 April to 9 June 2013. Newspaper article: "Jenni salutes Mongolia", Diamond Valley Leader, 12 November 2013. Jenni Mitchell's exhibition "Two Mongolian Journeys" at Eltham South Fine Art Gallery until 24 December 2013. Flier: Eltham South Fine Art Studios and Gallery, 6 Mount Pleasant Road, undated. Newspaper article: "Moving on is not without a shockwave", Diamond Valley Leader, 26 October 2016. Jenni Mitchell and Mervyn Hannan are moving to Hamilton, selling their Mt Pleasant Road property and gallery Newspaper article: "Great Grampians, It's Jenni Mitchell and Mervyn Hannan!", Jenni Mitchell and Mervyn Hannan's exhibtion at Streamline Publishing's Gallery, opened by Vicki Ward, 7-28 September 2022.Newspaper clippings, A4 photocopies, etcjenni mitchell, grace mitchell, cornelis vieeskens, dempsters fine art gallery, judith rodriguez, montsalvat eltham, professor a d hope, judith wright, geoffrey eggleston, shelton lea, montsalvat poetry festival, artists open studios, mervyn hannan, south fine art studios and gallery, jennifer mitchell, ken taylor, nic taylor, ross house gallery kew, melbourne spoleto festival, brian pearce, robert wilson, bundanon, adam galleries, eltham wiregrass gallery, alan martin, eltham community gallery, eltham cemetery, cemeteries and crematoria bill, isla heddle, nillumbik cemetery trust, michael dobson, tpmy raimoc, belinda clarkson, friends of nillumbik, catherine dale, allstair royse, archibald prize, dickerson galley, hugh stubley, stephen pearce, trinity digital solutions, gateway galleries eltham, gary honey, basil sellers art prize, nillumbik women's network, warwick leeson, national museum of mongolia, tugsoyun sodnom, michelle morgan, zanzy community choir, eltham south fine art gallery, streamline publishing's gallery, vicki ward, sonia skipper, joe hannan, robert marshall, hamilton regional gallery, petschel house hamilton, colin rouse, st. katherine's church, st helena -
Darebin Art CollectionPainting, Katherine Hattam, Powerlines Merri Creek, 2010
"Katherine Hattam’s exuberant work, Powerlines Merri Creek equalises the natural environment with man-made constructions as she explores the hybrid landscape of local waterways and their locations. Hattam’s art practice comprises drawing, collage, printmaking and sculpture. She employs a contemplative process in revealing the relationships and tensions between objects, space and placement."Hattam has exhibited widely as a solo artist as well as in group shows for over five decades. She has won the Robert Jacks Drawing Prize (2006), Banyule Works on Paper Art Award (2005) and has been short-listed in the Dobell Drawing Prize, the National Works on Paper Prize and the Arthur Guy Memorial Painting Prize. Her work is represented in public, corporate, educational and private collections such as the National Gallery of Australia, state and regional art galleries, The Darling Foundation, Smorgen Collection, Artbank, Queen Victoria Hospital, National Australia Bank and La Trobe University Museum of Art.Painting -
Whitehorse Historical Society Inc.Functional object - Radiator
... was told. I was disheartened and packed up the exhibits to go back ...Early form of home heating and because of the copper dish was considered one of the better models|Manufacturing History Museum Victoria|Commentary: Australian manufacturing history Philip Wollen|Many years ago, when I was an ambition young man, I took over a company called Hecla.|This business was formed in 1872, long before Federation was even contemplated. The company established a rich tradition in the Australian manufacturing industry. The prodigious product range included kettles, mixers, toasters, hairdryers, urns, pie warmers, bain maries, and electric blankets for the domestic and commercial market. During the war it even manufactured parts for aircraft. It was one of Melbourne's largest employers.|Hecla was one of the pioneers in TV advertising, led by icons like Bert Newton, Bobby Limb, Evie Hayes and Graham Kennedy who ad Jibbed his way through irreverent and unscripted naughtiness about Hecla electric blankets and foot warmers. The slogan was 'By Hecla, its good.'. One can imagine the fun Bert and Graham had with their double entendres.|In the 60's Hecla entered into a partnership with General Electric and expanded rapidly. The massive factory, on the corner of Alexandra Parade and Chapel Street overlooking the Yarra River was a Melbourne landmark.|The business was formed by one of the scions of Melbourne industry. Mr Marriott was a metal worker of some repute, building the lights in front of Melbourne's Parliament House, the first steam car, the sideboard at the RACY Club, and the first factory to run on electricity.|By the time I acquired the company it was a shadow of its former self, incapable of competing with cheap Chinese imports. Wandering around the warehouse late one night I discovered a large, boarded up storeroom which appeared not to have been opened in decades.|Over several months I combed through the room, unearthing a treasure trove of products from a bygone era. Dusty files, engineering drawings, wooden prototypes, patent records, and correspondence from distributors on every continent.|I decided to track down an old man, Ray, long retired after 50 years with Hecla. He was not well off financially and welcomed the paid work. It turned out that he had done his apprenticeship with the company and there wasn't much he didn't know about it. He had been personally involved in the manufacture of almost every type of product on the Hecla smorgasbord's of products.|So for over 2 years he methodically assembled a mini museum of Hecla products, painstakingly polishing them and ensuring they were in working order. He attached the original brochure of each product and their respective warranty cards. For him it was ,a labour of love. For me it was a fascinating, if vicarious journey, into Australia's manufacturing past.|My colleagues complained that I was wasting money on his salary, our time and factory space on stuff that should have been dumped years ago. I tried to explain that I was merely a steward of the Hecla tradition, not merely an owner. Besides, the look on Ray's face convinced me that there was another dynamic at work. One I could see, but didn't really understand.|After he Passed away I faced a dilemma. What to do with this 'museum' of Hecla history. Nobody was interested.|So I kept the 'stuff' in private storage, hoping that same day someone would be interested in it. And the years passed.|Finally, I had a brainwave. Perhaps the Melbourne Museum would be interested. It was a long shot but I made the call. I had a nagging suspicion that they would think I was simply trying to get them to relieve me of paying for this huge collection to be taken to the tip.|To my surprise they said they would be willing to take a look, I secretly hoped that they would take the whole collection and not leave me with an incomplete jumble of appliances that I would indeed have to take to the tip.|On the appointed day, four serious looking young people showed up. Armed with digital cameras, note books and poker faces they spent four hours analysing the goods and the supporting materials. I asked them if they had any interest and their response was decidedly non-committal. It depends on the acquisitions committee, I was told. I was disheartened and packed up the exhibits to go back into storage.|Imagine my surprise when months later they telephoned to say that they had researched the history of the company, and yes, they would like to take the whole collection. And a truck with 'handlers' would arrive the following day to pick it up. Two years ago all Hecla's archives left me forever and went to the Museum's warehouse.|Well, to my delight I received a call yesterday inviting me to a private viewing of the exhibition at the Melbourne Museum. These young historians had meticulously assembled an impressive display of Melbourne's industry and technology going back to the 1800's. They thanked me like a significant benefactor when it is I who should have thanked them.|I saw the excitement in the eyes of these young people who had somehow managed to dig out and assemble memories from Australia's past. If this is the standard of care that the curators of the Melbourne Museum show all their exhibits, our history is in safe hands.|Their meticulous work took me back to those years long ago when I saw an old man lovingly assembling and cataloging a lifetime of his work.|It took me back to the day when Australians actually made things. Long before we became a nation of quarrymen. Before we became animal-factory 'farmers'. Of a time when products didn't break down, or dumped and replaced before the warranty expired. When men like Mr Marriott cared deeply about what their hands produced.|It reminded me of the call I received from an elderly lady in Tasmania asking for the electrical element for a Hecla K7 kettle. I searched the archives and called her back. The K7 was produced decades earlier and we no longer carried that spare part. She was quite disheartened and told me her kettle had finally 'given up the ghost' and she couldn't bear to part with it. It was a present from her husband on their wedding day 45 years ago. Her final words were 'they don't make them like that, do they? By Hecla they were good.'|I'm glad I followed my instinct and put Ray back on the payroll all those years ago..|I like to think Mr Marriott would have been pleased.Pedestal radiator. Base is cast iron with three feet with rose design on each. Pedestal supports a copper spherical reflector plate which has an electrical connection box at its base. The connection box is joined to the pedestal by a screw and nut to enable the reflector to be tilted. The element is cone shaped and is in the centre of the plate. The element is protected by a wire guard.Hecla Firedomestic items, heating -
Flagstaff Hill Maritime Museum and VillageCraft - Ship Model, S.S. Schomberg, 1988
This model of the clipper ship SS Schomberg was researched and constructed to a scale of 1:64 by David Lumsden in 1988. When the Schomberg was launched in 1855, she was considered the "Noblest” ship that ever floated on the water. Schomberg's owners, the Black Ball Line had commissioned the ship for their fleet of passenger liners. She was built by Alexander Hall of Aberdeen for £43,103 and constructed with 3 skins. One planked fore and aft and two diagonally planked, fastened together with screw-threaded trunnels (wooden rails). Her First Class accommodation was simply luxurious with velvet pile carpets, large mirrors, rosewood, birds-eye maple and mahogany timbers throughout, soft furnishings of satin damask, and oak-lined library with a piano. Overall she had accommodation for 1000 passengers. At the launch, the Schomberg's 34-year-old master, Captain 'Bully' Forbes, had promised to reach Melbourne in sixty days stating, "with or without the help of God." Captain James Nicol Forbes was born in Aberdeen in 1821 and rose to fame with his record-breaking voyages on the famous Black Ball Line ships; Marco Polo and Lightning. In 1852 in the Marco Polo, he made the record passage from London to Melbourne in 68 days. Unfortunately, there were 53 deaths on the voyage, but the great news was off the record passage by Captain Forbes. In 1854 he took the clipper “Lighting” to Melbourne in 76 days and back in 63 days, this record was never beaten by a sailing ship. He often drove his crew and ship to breaking point to beat his previous records. He cared little for the comfort of the passengers. On this, the Schomberg's maiden voyage, he was determined to break existing records. Schomberg departed Liverpool on her maiden voyage on 6th October 1855 flying a sign that read "Sixty Days to Melbourne". She departed with 430 passengers and 3000 tons cargo including iron rails and equipment intended to build the Melbourne to Geelong Railway and a bridge over the Yarra from Melbourne to Hawthorn. She also carried a cow for fresh milk, pens for fowls and pigs, 90,000 gallons of water for washing and drinking. She also carried 17,000 letters and 31,800 newspapers. The ship and cargo were insured for $300,000 a fortune for the time. The winds were poor as she sailed across the equator, slowing Schomberg's journey considerably. The land was first sighted on Christmas Day, at Cape Bridgewater near Portland, Captain Forbes followed the coastline towards Melbourne. Forbes was said to be playing cards when called by the third mate Henry Keen, who reported land about 3 miles off. Due in large part to the captain's regarding a card game as more important than his ship, it eventually ran aground on a sand spit near Curdie's Inlet (about 56 km west of Cape Otway) on 26th December 1855, 78 days after leaving Liverpool. The sand spit and the currents were not marked on Forbes's map. Overnight, the crew launched a lifeboat to find a safe place to land the ship’s passengers. The scouting party returned to Schomberg and advised Forbes that it was best to wait until morning because the rough seas could easily overturn the small lifeboats. The ship’s Chief Officer spotted the SS Queen at dawn and signaled the steamer. The master of the Queen approached the stranded vessel and all of Schomberg’s passengers and crew disembarked safely. The Black Ball Line's Melbourne agent sent a steamer to retrieve the passengers' baggage from the Schomberg. Other steamers helped unload her cargo until the weather changed and prevented the salvage teams from accessing the ship. Later one plunderer found a case of Wellington boots, but alas, all were for the left foot. Local merchants Manifold & Bostock bought the wreck and cargo but did not attempt to salvage the cargo still on board the ship. They eventually sold it on to a Melbourne businessman and two seafarers. In 1864 after two of the men drowned when they tried to reach Schomberg, salvage efforts were abandoned. In 1870, nearly 15 years after the wreck parts of the Schomberg had washed ashore on the south island of New Zealand. The wreck now lies in almost 9 metres of water and although the woodwork is mostly disintegrated the shape of the ship can still be determined due to the remaining railway irons, girders and the ship’s frame. A variety of goods and materials can be seen scattered about nearby. There have been many other artefacts salvaged from the wreck include ship fittings and equipment, personal effects, a lithograph, tickets and photographs from the Schomberg. This item was retrieved from the shipwreck site during early salvage efforts on the vessel. And was donated to the Flagstaff Hill collection of Schomberg shipwreck artefacts.This artifact is particularly significant in that along with other items salvaged from the wreck have helped in part to having legislation changed to protect shipwrecks, with far tighter controls being employed to oversee the salvaging of wreck sites. This item forms part of the Schomberg collection at Flagstaff Hill maritime museum. The collection as a whole is of historical and archaeological significance at a State level. Flagstaff Hill’s collection of artefacts from the Schomberg is also significant for its association with the Victorian Heritage Registered Schomberg shipwreck (VHR S 612). The collection is of additional significance because of the relationship between the objects salvaged, as together they help us to interpret the story of the Schomberg. The collection as a whole is historically significant for representing aspects of Victoria's maritime history and its potential to interpret social and historical themes from society at the time of the wreck.Wooden model of the clipper ship SS Schomberg. The three masts are rigged with lines but have no sails. The model is mounted on pedestals on a timber board, exhibited in a glass case. The scale of this model is 1:64.Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, ship model, schomberg ship model, 1855, david lumsden, ship model maker, clipper ship, black ball line, 1855 shipwreck, aberdeen clipper ship, captain forbes, peterborough shipwreck, ss queen -
Whitehorse Historical Society Inc.Functional object - Heater - Electric, C1940s
... was told. I was disheartened and packed up the exhibits to go back ...Manufacturing History Museum Victoria|Commentary: Australian manufacturing history Philip Wollen|Many years ago, when I was an ambition young man, I took over a company called Hecla. This business was formed in 1872, long before Federation was even contemplated. The company established a rich tradition in the Australian manufacturing industry. The prodigious product range included kettles, mixers, toasters, hairdryers, urns, pie warmers, bain maries, and electric blankets for the domestic and commercial market. During the war it even manufactured parts for aircraft. It was one of Melbourne's largest employers.|Hecla was one of the pioneers in TV advertising, led by icons like Bert Newton, Bobby Limb, Evie Hayes and Graham Kennedy who ad Jibbed his way through irreverent and unscripted naughtiness about Hecla electric blankets and foot warmers. The slogan was 'By Hecla, its good.'. One can imagine the fun Bert and Graham had with their double entendres.|In the 60's Hecla entered into a partnership with General Electric and expanded rapidly. The massive factory, on the corner of Alexandra Parade and Chapel Street overlooking the Yarra River was a Melbourne landmark.|The business was formed by one of the scions of Melbourne industry. Mr Marriott was a metal worker of some repute, building the lights in front of Melbourne's Parliament House, the first steam car, the sideboard at the RACY Club, and the first factory to run on electricity.|By the time I acquired the company it was a shadow of its former self, incapable of competing with cheap Chinese imports. Wandering around the warehouse late one night I discovered a large, boarded up storeroom which appeared not to have been opened in decades.|Over several months I combed through the room, unearthing a treasure trove of products from a bygone era. Dusty files, engineering drawings, wooden prototypes, patent records, and correspondence from distributors on every continent.|I decided to track down an old man, Ray, long retired after 50 years with Hecla. He was not well off financially and welcomed the paid work. It turned out that he had done his apprenticeship with the company and there wasn't much he didn't know about it. He had been personally involved in the manufacture of almost every type of product on the Hecla smorgasbord's of products.|So for over 2 years he methodically assembled a mini museum of Hecla products, painstakingly polishing them and ensuring they were in working order. He attached the original brochure of each product and their respective warranty cards. For him it was ,a labour of love. For me it was a fascinating, if vicarious journey, into Australia's manufacturing past.|My colleagues complained that I was wasting money on his salary, our time and factory space on stuff that should have been dumped years ago. I tried to explain that I was merely a steward of the Hecla tradition, not merely an owner. Besides, the look on Ray's face convinced me that there was another dynamic at work. One I could see, but didn't really understand.|After he Passed away I faced a dilemma. What to do with this 'museum' of Hecla history. Nobody was interested.|So I kept the 'stuff' in private storage, hoping that same day someone would be interested in it. And the years passed.|Finally, I had a brainwave. Perhaps the Melbourne Museum would be interested. It was a long shot but I made the call. I had a nagging suspicion that they would think I was simply trying to get them to relieve me of paying for this huge collection to be taken to the tip.|To my surprise they said they would be willing to take a look, I secretly hoped that they would take the whole collection and not leave me with an incomplete jumble of appliances that I would indeed have to take to the tip.|On the appointed day, four serious looking young people showed up. Armed with digital cameras, note books and poker faces they spent four hours analysing the goods and the supporting materials. I asked them if they had any interest and their response was decidedly non-committal. It depends on the acquisitions committee, I was told. I was disheartened and packed up the exhibits to go back into storage.|Imagine my surprise when months later they telephoned to say that they had researched the history of the company, and yes, they would like to take the whole collection. And a truck with 'handlers' would arrive the following day to pick it up. Two years ago all Hecla's archives left me forever and went to the Museum's warehouse.|Well, to my delight I received a call yesterday inviting me to a private viewing of the exhibition at the Melbourne Museum. These young historians had meticulously assembled an impressive display of Melbourne's industry and technology going back to the 1800's. They thanked me like a significant benefactor when it is I who should have thanked them.|I saw the excitement in the eyes of these young people who had somehow managed to dig out and assemble memories from Australia's past. If this is the standard of care that the curators of the Melbourne Museum show all their exhibits, our history is in safe hands.|Their meticulous work took me back to those years long ago when I saw an old man lovingly assembling and cataloging a lifetime of his work.|It took me back to the day when Australians actually made things. Long before we became a nation of quarrymen. Before we became animal-factory 'farmers'. Of a time when products didn't break down, or dumped and replaced before the warranty expired. When men like Mr Marriott cared deeply about what their hands produced.|It reminded me of the call I received from an elderly lady in Tasmania asking for the electrical element for a Hecla K7 kettle. I searched the archives and called her back. The K7 was produced decades earlier and we no longer carried that spare part. She was quite disheartened and told me her kettle had finally 'given up the ghost' and she couldn't bear to part with it. It was a present from her husband on their wedding day 45 years ago. Her final words were 'they don't make them like that, do they? By Hecla they were good.'|I'm glad I followed my instinct and put Ray back on the payroll all those years ago..|I like to think Mr Marriott would have been pleased.Large electric heater with two radiator bars and a protective grille at the top and false coals at the bottom.Replacements for this fire - Elements No. F314 - Illuminators No. 3P. Berry's Electric Ltd - Volts 230 - 240 -Watts 2000 V/AD/Cat No. 454 . Made in Australia by Hecla Electrics Pty Ltd Melbournedomestic items, heating -
Whitehorse Historical Society Inc.Functional object - Electric Foot Warmer
... was told. I was disheartened and packed up the exhibits to go back ...Used by Colin Sach during his employment as Manager of the Chemistry Dept. at the University of Melbourne over a period of forty years.Manufacturing History Museum Victoria Commentary: Australian manufacturing history Philip Wollen Many years ago, when I was an ambition young man, I took over a company called Hecla.|This business was formed in 1872, long before Federation was even contemplated. The company established a rich tradition in the Australian manufacturing industry. The prodigious product range included kettles, mixers, toasters, hairdryers, urns, pie warmers, bain maries, and electric blankets for the domestic and commercial market. During the war it even manufactured parts for aircraft. It was one of Melbourne's largest employers.|Hecla was one of the pioneers in TV advertising, led by icons like Bert Newton, Bobby Limb, Evie Hayes and Graham Kennedy who ad Jibbed his way through irreverent and unscripted naughtiness about Hecla electric blankets and foot warmers. The slogan was 'By Hecla, its good1'. One can imagine the fun Bert and Graham had with their double entendres.|In the 60's Hecla entered into a partnership with General Electric and expanded rapidly. The massive factory, on the corner of Alexandra Parade and Chapel Street overlooking the Yarra River was a Melbourne landmark.|The business was formed by one of the scions of Melbourne industry. Mr Marriott was a metal worker of some repute, building the lights in front of Melbourne's Parliament House, the first steam car, the sideboard at the RACY Club, and the first factory to run on electricity.|By the time I acquired the company it was a shadow of its former self, incapable of competing with cheap Chinese imports. Wandering around the warehouse late one night I discovered a large, boarded up storeroom which appeared not to have been opened in decades.|Over several months I combed through the room, unearthing a treasure trove of products from a bygone era. Dusty files, engineering drawings, wooden prototypes, patent records, and correspondence from distributors on every continent.|I decided to track down an old man, Ray, long retired after 50 years with Hecla. He was not well off financially and welcomed the paid work. It turned out that he had done his apprenticeship with the company and there wasn't much he didn't know about it. He had been personally involved in the manufacture of almost every type of product on the Hecla smorgasbord's of products.|So for over 2 years he methodically assembled a mini museum of Hecla products, painstakingly polishing them and ensuring they were in working order. He attached the original brochure of each product and their respective warranty cards. For him it was ,a labour of love. For me it was a fascinating, if vicarious journey, into Australia's manufacturing past.|My colleagues complained that I was wasting money on his salary, our time and factory space on stuff that should have been dumped years ago. I tried to explain that I was merely a steward of the Hecla tradition, not merely an owner. Besides, the look on Ray's face convinced me that there was another dynamic at work. One I could see, but didn't really understand.|After he Passed away I faced a dilemma. What to do with this 'museum' of Hecla history. Nobody was interested.|So I kept the 'stuff' in private storage, hoping that same day someone would be interested in it. And the years passed.|Finally, I had a brainwave. Perhaps the Melbourne Museum would be interested. It was a long shot but I made the call. I had a nagging suspicion that they would think I was simply trying to get them to relieve me of paying for this huge collection to be taken to the tip.|To my surprise they said they would be willing to take a look, I secretly hoped that they would take the whole collection and not leave me with an incomplete jumble of appliances that I would indeed have to take to the tip.|On the appointed day, four serious looking young people showed up. Armed with digital cameras, note books and poker faces they spent four hours analysing the goods and the supporting materials. I asked them if they had any interest and their response was decidedly non-committal. It depends on the acquisitions committee, I was told. I was disheartened and packed up the exhibits to go back into storage.|Imagine my surprise when months later they telephoned to say that they had researched the history of the company, and yes, they would like to take the whole collection. And a truck with 'handlers' would arrive the following day to pick it up. Two years ago all Hecla's archives left me forever and went to the Museum's warehouse.|Well, to my delight I received a call yesterday inviting me to a private viewing of the exhibition at the Melbourne Museum. These young historians had meticulously assembled an impressive display of Melbourne's industry and technology going back to the 1800's. They thanked me like a significant benefactor when it is I who should have thanked them.|I saw the excitement in the eyes of these young people who had somehow managed to dig out and assemble memories from Australia's past. If this is the standard of care that the curators of the Melbourne Museum show all their exhibits, our history is in safe hands.|Their meticulous work took me back to those years long ago when I saw an old man lovingly assembling and cataloging a lifetime of his work.|It took me back to the day when Australians actually made things. Long before we became a nation of quarrymen. Before we became animal-factory 'farmers'. Of a time when products didn't break down, or dumped and replaced before the warranty expired. When men like Mr Marriott cared deeply about what their hands produced.|It reminded me of the call I received from an elderly lady in Tasmania asking for the electrical element for a Hecla K7 kettle. I searched the archives and called her back. The K7 was produced decades earlier and we no longer carried that spare part. She was quite disheartened and told me her kettle had finally 'given up the ghost' and she couldn't bear to part with it. It was a present from her husband on their wedding day 45 years ago. Her final words were 'they don't make them like that, do they? By Hecla they were good1'|I'm glad I followed my instinct and put Ray back on the payroll all those years ago..|I like to think Mr Marriott would have been pleased.Square metal box with electrical elements inside. Used to stand on or to put feet on when sitting. Elaborate pattern in centre with inscription.Hecla Foot Warmerdomestic items, heating
