Centred on present day Mays Road at Stringybark Road, Eltham bounded by Nyora Road to north, Yarra River to south, Reynolds Road to east and Bible Street to west. Historic Aerial Imagery Source: Landata.vic.gov.au Aerial Photo Details: Project No :985 Project : MELBOURNE 1972 Run : 28 Frame : 209 Date : 04/1972 Film Type : B/W Camera : RC10 Flying Height : 5700 Scale : 9600 Film Number : 2635 GDA2020 : 37°43'33"S, 145°09'28"E MGA2020 : 337647, 5823013 (55) Melways : 22 B8 (ed. 42)aerial photo, neil webster collection, 1972-04, eltham, bible street, mays road, melway 22b8, nyora road, reynolds road, stringybark road, yarra river

Eltham, Main Road; Henry St to Bellevue Rd, and east along Luck St to present day Eltham East School Historic Aerial Imagery Source: Landata.vic.gov.au Aerial Photo Details: Project No :5 Project : MELBOURNE AND METROPOLITAN AREA PROJECT Run : 36 Frame : 60549 Date : 12/1945 Film Type : B/W Camera : EAG4 Flying Height : 10200 Scale : 6000 Film Number : 228 GDA2020 : 37°42'45"S, 145°08'59"E MGA2020 : 336903, 5824465 (55) Melways : 21 K4 (ed. 42)aerial photo, arthur street, bellevue road, bible street, diamond street, dudley street, elsa court, eltham, eltham east primary school, gahan house, henry street, livingstone road, luck street, main road, pryor street, neil webster collection

The men in the photograph are former councillors and they are at an ordinary meeting of the Shire of Bulla council, which took place on 15th July 1974 at the Old Shire Offices in Bulla. Council usually met at the Council Offices in Sunbury but there were times when they met at the Old Shire Offices in Bulla. The people are from L-R: M.Donovan, J.Watson (Deputy Shire Secretary), John Kelly (Shire secretary), C.E.Cook, J.P. (Shire President), John McKerrow ( Shire engineer), D.W.Dumbrell, A.V.Mitchell (Deputy Shire Engineer - Standing), J. Kelly, Eric Boardman (Regional News Gazette - Back to Camera) A non-digital black and white photograph with a cream border, of ten men seated around a table conducting a meeting in a room.Information about the event is filed with the photograph in the pocket.shire of bulla, old shire offices, bulla, councillors, council meetings

Rose Series postcard No. P 1701 titled "Elizabeth Street from Lonsdale Street Melbourne". Has a number of cable trams in the view, the closest one being a Brunswick tram. There is a policeman on point duty. In the view are signs for G A Grano Mantle manufacturers, Smiths Pawnbroker, State Savings Bank, MIchaels Camera store, one horse-drawn cart, and motor vehicles. On the west side footpath under an awning is a "Keep to the left" for pedestrians. Flinders St Railway Station can be seen in the far distance. The Brunswick cable tram line was closed Sept. 1935.Yields information about Elizabeth St, c1930Postcard - printed real photograph with Rose Stereograph Co. name on the rear.On rear in pencil "KM-M-076" and a Ken Magor stamp.trams, tramways, flinders st station, cable trams, elizabeth st

This is a set of six staff photographs of the Army Survey Regiment’s Officers, Warrant Officers and Sergeants, and each of its four Squadrons at Fortuna, Bendigo in December 1982. Note - Air Survey Squadron’s photo was probably taken in July 1982 as they appear in winter dress. Air Survey Squadron was responsible for aerotriangulation, photogrammetric feature extraction and the AUTOMAP 1 system. Typical tasks were flight planning the acquisition of aerial photography, pugging, mensuration and block adjustments, photogrammetric extraction of topographic features from aerial photography, digital feature editing, map compilation, operating the scanner/plotter, operating the AUTOMAP 1 system and computer programming by civilians. Cartographic Squadron was responsible for the production of the following military products: Joint Operation Graphics, small-scale RAAF Air Charts, large-scale topographic line maps and orthophotomaps. Cartographic technician tasks were scribing, compiling, retouching, masking, type setting, type stickup, terrain embossing, correcting and proving quality control. Headquarters Squadron was responsible for the planning and coordination of map production and contracts. It also performed administrative and support functions such as personnel administration, pay, finance, transportation, records, map Library, kitchens, messes and facility maintenance. It was staffed by Army personnel from RASvy, RACT, AACC, RAAOC and RAEME corps. Other supporting staff at this time included the RAAF Liaison Officer, RAN Liaison Officer and several civilians employed in administration, the Q-Store and grounds maintenance. A component of the Army Svy Regt’s cartographic map production was carried out by the Detachment, a sub-unit located at Bonegilla next to the School of Military Survey. Lithographic Squadron was responsible for the reproduction of map materials and printing of military map products. The main tasks undertaken by photographic technicians were photographic enlargements, reductions and duplication of map reproduction material and processing of aerial photography. Printing technician tasks included platemaking, offset printing, map stock despatching and proofing.This is a set of six staff photographs of the Army Survey Regiment’s Officers, Warrant Officers and Sergeants, and its four Squadrons, at Fortuna, Bendigo, 1982. The black and white photographs were printed on photographic paper and are part of the Army Survey Regiment’s Collection. The photograph was scanned at 300 dpi. No personnel are identified. No personnel are identified. .1P – Annotated on front “OFFICERS MESS DEC ’82” .2P – Annotated on back “SGTS MESS DEC ’82” .4P– Annotated on front “CARTO SQN DEC ’82” .5P– Annotated on front “HQ SQN DEC ’82”royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr, air survey, carto, litho

In the 1830’s, European pastoralists started moving south from NSW into the Alps. In 1836, cattle grazing began around Omeo and the runs spread out into the foothills. The higher country was used for summer grazing and huts were built for shelter and storage during stock mustering. The lure of gold brought many people to the Alps from around 1850 to 1900. Bushfires destroyed the forests around Melbourne in 1939 and the boom in house-building after World War II ked to increased demand for timber from the Alps. This resulted in the building of a network of roads which helped open up access to the Alps. The early 1940’s brought the first of many workers to the Alps for the planning and construction of the Hydro-Electric Scheme. These were the pioneers and early settlers of the Kiewa Valley and provided a wealth of characters and a tapestry of stories and adventures to be handed down to future generations.These 3 posters, which were most likely produced for promotional purposes provide a glimpse into the early lives of the pioneer families of the Kiewa Valley through pictures and verse. They show their lifestyle and outline the hardships they had to endure in living and working in the Alpine region. They also highlight the early arguments regarding grazing in the high country which would ultimately lead to the end of the long traditions of the high country cattle men. Set of 3 A4 size posters with black and white photographs and text and colour background depicting various parts of the history of the Kiewa Valley. 1. Titled - ‘Life wasn’t meant to be easy’ Describes early life for Kiewa Hydro workers. 2. Titled - ‘Cattlemen of the High Plains’ Describes a brief history of life of the cattlemen of the high plains 3. Titled – ‘There are Places I’ll remember’ Depicts early photographs of residents of the Kiewa Valley, also includes the words from a John Lennon song as per poster title. Printed on each poster – Poster designed by Dyanne Photography - Wodonga 1. Printed at bottom of poster – Sources: G Napier and G Easdown “The Kiewa Story” 1993. Southern Hydro Archives, N Hetherington and R Hollands. G Gardner “The Kiewa Kids” 1998. 2. Printed at bottom of poster – Sources: D Purland. Handwritten at top of poster- Poster 4 3. Printed at bottom of poster – Sources: B Roper, W Davies, D Higginson, H Ryder. Handwritten at top of poster- Poster 3 kiewa valley; tourism; lifestyles

In 1906 the Ballarat Progress Association commissioned Powell and Co. to publish a booklet called Guide to Ballarat the Beautiful.This booklet contained many photographs (including coloured photography) and description of businesses and icons of which inhabitants of the city could be proud. Berry, Anderson & Co. were commissioned to produce: 1918 Beautiful Ballarat: The City of Charm & Beauty and 1923 Beautiful Ballarat: The City of Charm and Beauty. http://bih.ballarat.edu.au/index.php/Ballarat_Progress_Association The card was made out to Frederick Martell who was registrar of the School of Mines Ballarat (SMB). W. Coulthard was secretary of the Ballarat Progress AssociationTwo cream cards with black print and some hand writing 12067.1 Cream front and verso 12067.2 Light brown with cream strip on right hand side , cream verso12067.1 24 Sept 07 hand written in black ink towards top right hand side of card. "Election of officers etc" hand written towards bottom middle of card. "Mr Martell" hand written in black ink on verso 12067.2 "June 10th 1907 hand written in black ink on front. Mr Martell handwritten in black ink on backballarat-progress-association, martell, coulthard, meeting-notice, 1907, frederick martell, ballarat progress association

The abbey was founded by the Countess of Salisbury in 1229 for Augustinian Canonesses. It prospered throughout the middle ages. It was bought by William Henry Fox Talbot (1800-77). He was part of a scientific and enlightened group of men, which led him to discover the process of photography. The first photograph is said to have been taken from the windows of Lacock Abbey.In August 1835 Talbot made the earliest known surviving photographic negative using a wooden camera.The rare small photogenic image of the latticed window in the south gallery of Lacock is now in the collection of the Science Museum at Bradford, UK.Colour photograph of Abbey, Lacock, United Kingdomlacock abbey, church

Kristin McFARLANE An Australian artist who combines graphic design, glass, botanical specimens, photography, encaustic painting, print and typography to explore fragility, nature and beauty. Kristin studied graphic design followed by a Graduate Diploma and Master of Fine Arts in glass at Monash University, Melbourne. Since graduating in 2004 she has undertaken public and private commissions and exhibitions including works for the Royal Melbourne Hospital, Monash University and Her Majesty Queen Rania of Jordan. Kristin designed and created the trophies for the Australian of The Year Awards from 2005-2014. These glass panels celebrate the history of the Monash University site; its early days as Berwick showgrounds and Casey Arifield to its current use as a state of the art educational centre. Images sourced from: Berwick Nostalgia, Early days o Berwick and its surrounding ditricts, Beaconsfield, Upper Beaconsfield, Harkaway, Narre Warren North, Berwick Mechanics Institute and Free Library and Monassh University archives. Federation University Australia took on the Berwick campus after Monash departed from the campusmonash university, casey airfield, berwick showgrounds, federation university berwick campus, berwick, fused glass

Items in the collection relating to ARTHUR GEORGE HOLLEY no 13556 RAN Refer cat no 2134 for his service record. The photographs are from his personal album, but have not been traced to any available online archive, so provenance has not been established. They are likely a mixture of personal, commercial and official naval photography. Further research may provide more information at a later time. This set illustrates Holley's service on in the Australian navy in the 1930s. Though mostly official photographs, they capture the events he and his colleagues would have experienced and witnessed. Photographs taken from personal and official sources during Holley's service in the 1930sinterwar period, arthur george holley, royal australian navy

Rennie Ellis (1940–2003) was as a pivotal figure in Australian visual culture. He was both a documentary photographer and a prominent presence in advertising, television and photography. Ellis was known for his candid documentary images of contemporary Australian life. His photographs of social events, such as music festivals, fashion parades or nightclubs are iconic, but his practice also encompassed the grittier side of life. In his AFL series, Ellis skilfully portrays the nation’s passion for the game, extending his lens beyond the boundary line to showcase the spirited fans alongside the on-field action.

Rennie Ellis (1940–2003) was as a pivotal figure in Australian visual culture. He was both a documentary photographer and a prominent presence in advertising, television and photography. Ellis was known for his candid documentary images of contemporary Australian life. His photographs of social events, such as music festivals, fashion parades or nightclubs are iconic, but his practice also encompassed the grittier side of life. In his AFL series, Ellis skilfully portrays the nation’s passion for the game, extending his lens beyond the boundary line to showcase the spirited fans alongside the on-field action.

Rennie Ellis (1940–2003) was as a pivotal figure in Australian visual culture. He was both a documentary photographer and a prominent presence in advertising, television and photography. Ellis was known for his candid documentary images of contemporary Australian life. His photographs of social events, such as music festivals, fashion parades or nightclubs are iconic, but his practice also encompassed the grittier side of life. In his AFL series, Ellis skilfully portrays the nation’s passion for the game, extending his lens beyond the boundary line to showcase the spirited fans alongside the on-field action.Donated by the Rennie Ellis Photographic Archive

Rennie Ellis (1940–2003) was as a pivotal figure in Australian visual culture. He was both a documentary photographer and a prominent presence in advertising, television and photography. Ellis was known for his candid documentary images of contemporary Australian life. His photographs of social events, such as music festivals, fashion parades or nightclubs are iconic, but his practice also encompassed the grittier side of life. In his AFL series, Ellis skilfully portrays the nation’s passion for the game, extending his lens beyond the boundary line to showcase the spirited fans alongside the on-field action.Donated by the Rennie Ellis Photographic Archive

Rennie Ellis (1940–2003) was as a pivotal figure in Australian visual culture. He was both a documentary photographer and a prominent presence in advertising, television and photography. Ellis was known for his candid documentary images of contemporary Australian life. His photographs of social events, such as music festivals, fashion parades or nightclubs are iconic, but his practice also encompassed the grittier side of life. In his AFL series, Ellis skilfully portrays the nation’s passion for the game, extending his lens beyond the boundary line to showcase the spirited fans alongside the on-field action.Donated by the Rennie Ellis Photographic Archive

Rennie Ellis (1940–2003) was as a pivotal figure in Australian visual culture. He was both a documentary photographer and a prominent presence in advertising, television and photography. Ellis was known for his candid documentary images of contemporary Australian life. His photographs of social events, such as music festivals, fashion parades or nightclubs are iconic, but his practice also encompassed the grittier side of life. In his AFL series, Ellis skilfully portrays the nation’s passion for the game, extending his lens beyond the boundary line to showcase the spirited fans alongside the on-field action.Donated by the Rennie Ellis Photographic Archive

Rennie Ellis (1940–2003) was as a pivotal figure in Australian visual culture. He was both a documentary photographer and a prominent presence in advertising, television and photography. Ellis was known for his candid documentary images of contemporary Australian life. His photographs of social events, such as music festivals, fashion parades or nightclubs are iconic, but his practice also encompassed the grittier side of life. In his AFL series, Ellis skilfully portrays the nation’s passion for the game, extending his lens beyond the boundary line to showcase the spirited fans alongside the on-field action.Donated by the Rennie Ellis Photographic Archive

Items in the collection relating to ARTHUR GEORGE HOLLEY no 13556 RAN Refer cat no 2134 for his service record. The photographs are from his personal album, but have not been traced to any available online archive, so provenance has not been established. They are likely a mixture of personal, commercial and official naval photography. Further research may provide more information at a later time. This set illustrates Holley's service on in the Australian navy in the 1930s. Though mostly official photographs, they capture the events he and his colleagues would have experienced and witnessed. Photographs taken from personal and official sources during Holley's service in the 1930sinterwar period, arthur george holley, royal australian navy

A property illustration by Margaret Picken Commissioned by a real estate agency for the purpose of advertising 52 Lisbeth Ave., Mitcham Made by using Rotring ‘Rapidigraph’ drafting pens with Rotring ink on Rapidigraph polyester drafting film, double matte. Trained as a cartographic draftsman within the mining industry, Margaret Picken is an artist who worked producing property illustrations for real estate agencies in eastern suburbs of Victoria from 1983-2005. Retiring from the industry as technological changes favored coloured photography over illustrations, and commissioning companies over sole contractors.This artwork is of Historical Significance as a record of local domestic architecture.A black ink line drawing on drafters film by Margaret Picken, of 52 Lisbeth Ave., Mitcham depicting a black and white line drawing of a two story house with built in garage perched at the top of a steep driveway winding up from the centre foreground. There is garden either side, with gumtrees and shrubs. There are two holepunch holes centered just under the upper edge52 Lisbeth Ave., Mitcham Woodards - b/burn - M.Pickenwhitehorse historical society, schwerkolt cottage, housing, architecture, margaret picken, house, garden, real estate, mitcham

A property illustration by Margaret Picken Commissioned by a real estate agency for the purpose of advertising 39 O'Shannassy St., Nunawading Made by using Rotring ‘Rapidigraph’ drafting pens with Rotring ink on Rapidigraph polyester drafting film, double matte. Trained as a cartographic draftsman within the mining industry, Margaret Picken is an artist who worked producing property illustrations for real estate agencies in eastern suburbs of Victoria from 1983-2005. Retiring from the industry as technological changes favored coloured photography over illustrations, and commissioning companies over sole contractors.This artwork is of Historical Significance as a record of local domestic architecture.A black ink line drawing on drafters film by Margaret Picken, of a black and white line drawing of a single story weatherboard house. On the left is a driveway leading to a gated separate garage. While in the foreground on the right is low brick fence, enclosing a front garden. There are two holepunch holes on just under the upper edge.39 O'Shannassy St., Nunawading Margaret Picken - 92 Woodards - Boxhillwhitehorse historical society, schwerkolt cottage, housing, architecture, margaret picken, house, garden, real estate, nunawading

A property illustration by Margaret Picken Commissioned by a real estate agency for the purpose of advertising 3 Lynne St., Nunawading. Made by using Rotring ‘Rapidigraph’ drafting pens with Rotring ink on Rapidigraph polyester drafting film, double matte. Trained as a cartographic draftsman within the mining industry, Margaret Picken is an artist who worked producing property illustrations for real estate agencies in eastern suburbs of Victoria from 1983-2005. Retiring from the industry as technological changes favored coloured photography over illustrations, and commissioning companies over sole contractors.This artwork is of Historical Significance as a record of local domestic architecture.A black ink line drawing on drafters film by Margaret Picken, of a black and white line drawing of a single story weatherboard house. On the left is a driveway leading to a separate garage in the background, while in foreground on the right is a front garden, with a footpath to the front door.56 Mt.Pleasant Rd., Nunawadingwhitehorse historical society, schwerkolt cottage, housing, architecture, margaret picken, house, garden, real estate, nunawading

A property illustration by Margaret Picken Commissioned by the real estate agency Woodards for the purpose of advertising 15 Satori St., Burwood Made by using Rotring ‘Rapidigraph’ drafting pens with Rotring ink on Rapidigraph polyester drafting film, double matte. Trained as a cartographic draftsman within the mining industry, Margaret Picken is an artist who worked producing property illustrations for real estate agencies in eastern suburbs of Victoria from 1983-2005. Retiring from the industry as technological changes favored coloured photography over illustrations, and commissioning companies over sole contractors.This artwork is of Historical Significance as a record of local domestic architecture.A black ink line drawing on drafters film by Margaret Picken, of 15 Satori St., Burwood. A single story brick house, with a driveway on the left leading to a connected carport which covers the front door. in the foreground is a horizontal plank timber fence, and a tall gumtree.15 Satori St., Burwood Woodards - B.Burn Margaret Pickenwhitehorse historical society, schwerkolt cottage, housing, architecture, margaret picken, burwood, house, garden

A property illustration by Margaret Picken Commissioned by a real estate agency for the purpose of advertising 8 Victoria Ave., Mitcham Made by using Rotring ‘Rapidigraph’ drafting pens with Rotring ink on Rapidigraph polyester drafting film, double matte. Trained as a cartographic draftsman within the mining industry, Margaret Picken is an artist who worked producing property illustrations for real estate agencies in eastern suburbs of Victoria from 1983-2005. Retiring from the industry as technological changes favored coloured photography over illustrations, and commissioning companies over sole contractors.This artwork is of Historical Significance as a record of local domestic architecture.A black ink line drawing on drafters film by Margaret Picken, of 8 Victoria Ave., Mitcham depicting a black and white line drawing of a single story weatherboard cottage, with corrugated roof. In the foreground is a picket fence enclosing a heavily planted front yard. On the right a weatherboard 'cubby' can be seen over the garden fence. There are two holepunch holes on just under the upper edge 8 Victoria Ave., Mitcham Margaret Picken - 95 Woodards - C'wellwhitehorse historical society, schwerkolt cottage, housing, architecture, margaret picken, house, garden, real estate, mitcham

A property illustration by Margaret Picken Commissioned by a real estate agency for the purpose of advertising 5/16 Florence St., Nunawading Made by using Rotring ‘Rapidigraph’ drafting pens with Rotring ink on Rapidigraph polyester drafting film, double matte. Trained as a cartographic draftsman within the mining industry, Margaret Picken is an artist who worked producing property illustrations for real estate agencies in eastern suburbs of Victoria from 1983-2005. Retiring from the industry as technological changes favored coloured photography over illustrations, and commissioning companies over sole contractors.This artwork is of Historical Significance as a record of local domestic architecture.A black ink line drawing on drafters film by Margaret Picken, of a black and white line drawing of a single story brick house with a path leading to the front door, from the public footpath. To the right is the separate garage. Trees and shrubs grow in garden beds in front of the buildings and in the background, while in front of the house is a front lawn. There are two holepunch holes centred just under the upper edge.5/16 Florence St., Nunawading Margaret Picken - 93 Woodards - C'wellwhitehorse historical society, schwerkolt cottage, housing, architecture, margaret picken, house, garden, real estate, nunawading

A property illustration by Margaret Picken Commissioned by a real estate agency for the purpose of advertising 27 Crest Gve., Nunawading Made by using Rotring ‘Rapidigraph’ drafting pens with Rotring ink on Rapidigraph polyester drafting film, double matte. Trained as a cartographic draftsman within the mining industry, Margaret Picken is an artist who worked producing property illustrations for real estate agencies in eastern suburbs of Victoria from 1983-2005. Retiring from the industry as technological changes favored coloured photography over illustrations, and commissioning companies over sole contractors.This artwork is of Historical Significance as a record of local domestic architecture.A black ink line drawing on drafters film by Margaret Picken, of a black and white line drawing of a single story weatherboard house, with a front facing chimney . To the left is a driveway and on the right is a picket fence enclosing a front lawn with garden bed around the edges. The date listed in the title inscription has been overwritten from 95 in black ink, to 97, the 7 being in red ink. 1/9 East India Ave., Nunawading Picken © 2003 Realtorwhitehorse historical society, schwerkolt cottage, housing, architecture, margaret picken, house, garden, real estate, nunawading

A property illustration by Margaret Picken Commissioned by a real estate agency for the purpose of advertising 274 Springfield Rd., Nunawading Made by using Rotring ‘Rapidigraph’ drafting pens with Rotring ink on Rapidigraph polyester drafting film, double matte. Trained as a cartographic draftsman within the mining industry, Margaret Picken is an artist who worked producing property illustrations for real estate agencies in eastern suburbs of Victoria from 1983-2005. Retiring from the industry as technological changes favored coloured photography over illustrations, and commissioning companies over sole contractors.This artwork is of Historical Significance as a record of local domestic architecture.A black ink line drawing on drafters film by Margaret Picken, of a black and white line drawing of a single story house, on the left is a driveway leading into the background. While in the right foreground is a front garden, with a path to the front door.274 Springfield Rd., Nunawading Margaret Picken -92 Woodards -whitehorse historical society, schwerkolt cottage, housing, architecture, margaret picken, house, garden, real estate, nunawading

A property illustration by Margaret Picken Commissioned by a real estate agency for the purpose of advertising 3 Lynne St., Nunawading. Made by using Rotring ‘Rapidigraph’ drafting pens with Rotring ink on Rapidigraph polyester drafting film, double matte. Trained as a cartographic draftsman within the mining industry, Margaret Picken is an artist who worked producing property illustrations for real estate agencies in eastern suburbs of Victoria from 1983-2005. Retiring from the industry as technological changes favored coloured photography over illustrations, and commissioning companies over sole contractors.This artwork is of Historical Significance as a record of local domestic architecture.A black ink line drawing on drafters film by Margaret Picken, of a black and white line drawing of a single story weatherboard house with bullnose verandah over the front porch. In the foreground a driveway widens to lead to a gated separate garage in the background, and curve around to the front of the house.. In the left foreground corner is a font garden. There are two holepunch holes on just under the upper edge.24 Menin Road., Nunawading Picken © 2004 Realtorwhitehorse historical society, schwerkolt cottage, housing, architecture, margaret picken, house, garden, real estate, nunawading

A property illustration by Margaret Picken Commissioned by a real estate agency for the purpose of advertising 18 Salem Crt., Vermont Sth Made by using Rotring ‘Rapidigraph’ drafting pens with Rotring ink on Rapidigraph polyester drafting film, double matte. Trained as a cartographic draftsman within the mining industry, Margaret Picken is an artist who worked producing property illustrations for real estate agencies in eastern suburbs of Victoria from 1983-2005. Retiring from the industry as technological changes favored coloured photography over illustrations, and commissioning companies over sole contractors.This artwork is of Historical Significance as a record of local domestic architecture.A black ink line drawing on drafters film by Margaret Picken, of a single story brick house with attached carport on the right. A low staggered brick fence separates the front yard from the street, opening up for a driveway that leads to the carport. There are two hole punch holes just below centre of the upper edge.18 Salem Crt., Vermont Sth, Margaret Picken - 94 Woodards - B/Burnwhitehorse historical society, schwerkolt cottage, housing, architecture, margaret picken, house, garden, real estate, vermont, vermont south

With more and more woolsheds being connected to power lines, the need for electric shearing gear markedly increased from the 1960s onwards. The greater economy made electric gear an attractive proposition to many graziers. Requiring only an electric shearing motor, for small and medium scale operations, electric shearing motors were a more economical way of shearing a wool clip. The other option for graziers was Overhead shearing gear, which also required an Engine to provide shared power to a row of shearing stations. Still working, this Sunbeam Electric Shearing Motor – Heavy Duty Model, features a slow speed motor totally enclosed for protection against dust and insects. The full bearing down tube is easily removed and stored to be out of the way when not in use (not pictured). Providing 0.5 hp, which is twice the power ever needed for shearing sheep, this buffer allows for fluctuations in voltages that can occur in rural districts. Inventor Frederick Wolseley made the world's first commercially successful power-shearing system in Australia in 1888. US company Cooper, which had been founded in 1843 as a maker of sheep dip, began selling Wolseley equipment in the USA in 1895. The Chicago Flexible Shaft Company successfully entered the power-shearing market a few years later and entered into a joint venture with Cooper. It set up a branch in Sydney and sold shearing sets, and engines to power them, into the Australian market. In 1921 the US parent company, realising it needed to make products whose sales were not as seasonal as those of shearing equipment, made its first household appliances and branded them Sunbeam. In 1933, changes in exchange rates and taxes led the company to manufacture engines and shearing equipment in Australia via subsidiary Cooper Engineering, which changed its name to Sunbeam in 1946. Although most Australians know of this company as a major manufacturer of household appliances, its rural division flourished and retained the Sunbeam name for shearing equipment even after it was taken over by New Zealand company Tru-Test in 2001. This 0.5 horsepower vertical brushed motor air-cooled engine was designed to drive a single shearing plant. From the central cylinder which features a yellow “Sunbeam” sticker, a grey 240v power lead can be found on the left-hand side. A blue capacitor is located next to this power lead. Below, two legs extend and meet to form a foot which is fastened to a wall. On the right-hand side of the engine, a specification plate is located on the central cylinder. A yellow directional arrow sticker is located on the rotating section of the engine below the specification plate (location for photography, this section is designed to rotate and hence this sticker is not fixed in this location). At the rear of the cylinder, a plastic cap with small air cut outs protects the air-cooled engine from contaminants. At the front of the engine, the location for securing the bearing down tube is located. On the right-hand side of the lock for the bearing down tube is the handle, to which a string is often attached for switching the motor on and off by a shearer bent at the waist (not pictured). Sticker. Gold writing. Front of shearing motor “Sunbeam” Plate. Inscribed. Side of shearing motor. “Sunbeam / SHEARING MOTOR / MADE IN AUSTRALIA / 0.5 H.P. / 220/240 V / 1 PHASE A.C. / 4.0 AMPS / 50 C/S. / CONT. RTG. / 1425 R.P.M. / CLASS A INSUL / NO. J244560 / TYPE: NSB5C2/49." sheep sheering, shearing equipment, sunbeam, electric shearing motor