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Flagstaff Hill Maritime Museum and Village
Photograph, late 19th century
Loch Ard was bound for Melbourne in 1878 loaded with passengers and cargo when it ran into a rocky reef at the base of Mutton Bird Island, near Port Campbell. Of the 54 crew members and passengers on board, only two survived: an apprentice, Tom Pearce and a young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. The wreck of Loch Ard still lies at the base of Mutton Bird Island and much of the cargo has been salvaged. Some was washed up into what is now known as Loch Ard Gorge following the shipwreck. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. The photograph is significant for its association with the wreck of the Loch Ard. This wreck has been protected as a Historic Shipwreck since 11 March 1982, under the Commonwealth Historic Shipwrecks Act (1976) Flagstaff Hill’s collection of artefacts from Loch Ard is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register. The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the Loch Ard. The Loch Ard collection is archaeologically significant as the remains of a large international passenger and cargo ship. The Loch Ard collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the Loch Ard, which was one of the worst and best known shipwrecks in Victoria’s history. The Loch Ard collection meets the following criteria for assessment: Criterion A: Importance to the course, or pattern, of Victoria’s cultural history. Criterion B: Possession of uncommon, rare or endangered aspects of Victoria’s cultural history. Criterion C: Potential to yield information that will contribute to an understanding of Victoria’s cultural history. Black and White photoghrap of Thomas Pearce. Taken by the Photographic Society of Victoria. Registered copyright July 24th 1878. Reverse has printed maker’s information and a white adhesive label with hand writing on it.Label has hand writing “F-Ph 55/2-74” Printed green text “PHOTOGRAPHIC / SOCIETY OF VICTORIA / MELBOURNE / REGISTERED COPYRIGHT / JULY 24th 878” and “NONE ARE GENUINE UNLESS WITH / SIGNATURES THUS” and “PRESIDENT / VICE PRESIDENT / SECRETARY” flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, photoghrap, thomas pearce, photographic society of victoria, loch ard shipwreck -
Nillumbik Shire Council
Ceramic: Clifton PUGH, technician: Geoffrey DAVIDSON, Leda and the Emu, c. 1975
Geoff Davidson arrived at Dunmoochin around 1968 and began living and working as an apprentice to the potter Robert Main, who was working in a studio rented to him by Clifton Pugh on the Dunmoochin property. When Robert left, Geoff moved into the studio and began collaborating with Clifton Pugh on many projects for a period of 25 years whereby Clifton would decorate pots made by Geoff. Geoff produce the ceramic panels for Leda and the Emu. He mixed and identified the glazes for Clifton, then fired the panels once he had finished painting. Three or four murals were produced in this way, one of which was purchased by Don Dunston (ex-Premier of South Australia) as a gift to his dying wife.Dunmoochin derives its cultural and artistic heritage from the collaborative efforts of a group of artists who purchased land in Cottles Bridge in the early 1950’s. These artists (Pugh) pioneered one of the first artistic communes in Australia and created a lasting vision of how a community can gain knowledge and inspiration from living in a close relationship with nature. Pugh had explored the ‘Leda and the Swan’ mythological themes previously during the sixties in etchings and paintings, although he was more interested in referencing the original myth as allusions to other truths. Pugh was drawn to the Greek myth ‘Leda and the Swan’ in which Zeus transforms into a swan to seduce Leda. Pugh Australianised the myth so that Zeus transformed into an Emu rather than a Swan, and makes a gentle satirical comment on the sexual behaviour of the Australian male, whereby he sees a parallel between this and the proud yet awkward movements and naivety of our national bird. This particular theme was prevalent in Pugh's work right through the 60s and 70s. Leda and the Emu is a work by two prominent local artists (Clifton Pugh and Geoff Davidson) with a national and international reputation.Flat red background, black foliage. Leda is naked and sleeping with head resting in hand. Emu is to the left watching Leda. Drawing style is typical of Pugh’s work: linear, flat and gestural.Signed 'II Clifton' -
Ballaarat Mechanics' Institute (BMI Ballarat)
1901 Car built by Arthur, Rob, & Harold Leckie in Ballarat
This photograph is held in the Ballaarat Mechanics' Institute Audio Visual Collection. Please contact BMI for all print and usage inquiries. Arthur Leckie was born in Sebastopol on 16 August 1876. In 1878 the family moved into their newly built home, Blythewood Grange, in Sebastopol. Arthur attended Grenville College and commenced Ballarat College in 1893. He was Apprentice as an Ironmonger at 'The Present Day Ironmonger' in Bridge Street. He next worked for William Dawson, Ironmonger, in Sturt Street, next to old The Courier Office. After the death of his father in 1893 the family moved out of ‘Blythewood Grange into Ballarat. Arthur and his brothers Robert and Harold built their own automobile in the sheds behind their house, commencing in 1899 and having it ‘on the road’ in 1901.ballarat, 1901, car, leckie -
Ballaarat Mechanics' Institute (BMI Ballarat)
Notes on Arthur Leckie's Car 1899
This photograph is held in the Ballaarat Mechanics' Institute Audio Visual Collection. Please contact BMI for all print and usage inquiries. Arthur Leckie was born in Sebastopol on 16 August 1876. In 1878 the family moved into their newly built home, Blythewood Grange, in Sebastopol. Arthur attended Grenville College and commenced Ballarat College in 1893. He was Apprentice as an Ironmonger at 'The Present Day Ironmonger' in Bridge Street. He next worked for William Dawson, Ironmonger, in Sturt Street, next to old The Courier Office. After the death of his father in 1893 the family moved out of ‘Blythewood Grange into Ballarat. Arthur and his brothers Robert and Harold built their own automobile in the sheds behind their house, commencing in 1899 and having it ‘on the road’ in 1901.ballarat, arthur leckie, car, 1899 -
Unions Ballarat
Printed report of the proceedings of the 7th Intercolonial Congress Committee, 1891
Ballarat Trades Hall was part of the Intercolonial Trades Hall Congresses that were created for the purposes of collective organising within labour organisations. There were eight Congresses within Australia that regularly discussed: - legislation of trade unions - organisation of labour - abolition of ‘Chinese and coolie immigration’ - Compulsory Court of Arbitration - Employers Liability Act - legalisation of the 8 hours system - land nationalisation - manhood suffrage - direct representation of labour in Parliament - appointment of working men on technical and other boards - free compulsory and secular education by the state and regulation of apprentices. Some of the resolutions passed related to: - the Commonwealth Draft Bill - assisted immigration - payment to Members of Parliament - single tax - paid union organisers, - minimum wage - industrial federation. The minutes and the Congress show BTLC's ongoing engagement with industrial , social and education matters on a wide scale.Paperbtlc, ballarat trades and labour council, unions, ballarat trades hall, union organisers, wages, industrial federation, taxation, parliament, members of parliament, immigration, commonwealth draft bill, education, land nationalisation, manhood suffrage, employers liability act, court of arbitration, chinese -
NMIT (Northern Melbourne Institute of TAFE)
Folder: Bound folder of newspaper cuttings 1960-1979, and Invitations to ceremonies and exhibitions 1935 to 1979
Large bound folder consisting of various items pasted into it. Includes: Invitation to the Exhibition of Prahran Technical School students work on 11 November 1930. Invitation card to the laying of foundation stone of the Boot and Shoe Trade School of Collingwood Technical School on 21st February 1945. Invitation card to the Collingwood Technical School Annual exhibition of students’ hobbies on 23rd May, 1935. Newspaper cuttings dating from 14 January 1960 to 26 July 1978 related to technical education and plans for Otter Street Collingwood building . Flyer for the Collingwood Technical School Golden Jubilee of on 20 July 1962. Program for Collingwood Technical College Annual Award Night 9 December 1970. Collingwood Technical School 1971 handbook. Program for Collingwood Technical College Apprentice Award Night 22 July 1971. Invitation card and program for Official Opening of Alex & Doris Cowmeadow Wings of Camp Westlake 14 November 1971 Collingwood Technical College. Invitation and program for Collingwood Technical College Annual Award night 8 December 1971 collingwood technical school, collingwood technical college, camp westlake, newspaper clippings, nmit -
Bendigo Historical Society Inc.
Programme - BENDIGO OPERATIC SOCIETY ''OLIVER''
Bendigo Operatic Society ''Oliver'' Capital Theater, view Street Bendigo. Souvenir Programme ot the Society's Twentieth year of Production. For an Eight Night Season Commencing Wednsday, 13th june, 1973. Producer: Max Collis - Musical Director: Gwen Grose - Pianist: Dianna Cohn - Assistant Producer, Wardrobe and Ballet Mistress: Madge Welch - Stage Manager: Malcom Cannon. Cast: Michael Frayne, Mark Edebone as Oliver - Douglas Sayle as Mr. Bumble - Patricia Lyon as Widow Corney (The Matron) - Valerie Griffiths as Old Sally (A Pauper) - Pauline Speedy as A Pauper Woman - Bary Burns as Mr. Soweberry (The Undertaker) - Ann Ball as Mrs. Soweberry (His Wife) - Annette Beckwith as Charlotte (Their Daughter) - Graeme Daws as Noah Claypole (Their Apprentice) - Fred Trewarne as Fagin - Shane Brennan,Bruce Ashman as The Artful Dodger - Kathie Farn as Nancy - Marion Wright as Bet - David Daenke as Bill Sikes - Ray Edebone as Mr. Brownlow - John Beaumont as Dr. Grimwig - Jill James as Mrs. Bedwyn.program, theatre, bendigo operatic society -
Flagstaff Hill Maritime Museum and Village
Photograph, late 1800's
Miss Eva Carmichael is one of two survivors of the Loch Ard shipwreck.. Loch Ard was bound for Melbourne in 1878 loaded with passengers and cargo when it ran into a rocky reef at the base of Mutton Bird Island, near Port Campbell. Of the 54 crew members and passengers on board, only two survived: an apprentice, Tom Pearce and a young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. The wreck of Loch Ard still lies at the base of Mutton Bird Island and much of the cargo has been salvaged. Some was washed up into what is now known as Loch Ard Gorge following the shipwreck. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. The photograph is significant for its association with the wreck of the Loch Ard. This wreck has been protected as a Historic Shipwreck since 11 March 1982, under the Commonwealth Historic Shipwrecks Act (1976) Flagstaff Hill’s collection of artefacts from Loch Ard is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register. The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the Loch Ard. The Loch Ard collection is archaeologically significant as the remains of a large international passenger and cargo ship. The Loch Ard collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the Loch Ard, which was one of the worst and best known shipwrecks in Victoria’s history. The Loch Ard collection meets the following criteria for assessment: Criterion A: Importance to the course, or pattern, of Victoria’s cultural history. Criterion B: Possession of uncommon, rare or endangered aspects of Victoria’s cultural history. Criterion C: Potential to yield information that will contribute to an understanding of Victoria’s cultural history. Photograph of Miss Eva Carmichael sitting on a chair holding a curtain. Text below photograph is partly unreadable but gives the name of the photographic studio. A printed on the back "County of Gloucester Studio Cheltenham" with the address and other informaion.Reverse has crest that includes “PRIZE MEDALIST PARIS EXHIBIT’N 1867” Printed text “No. …………” “COUNTY OF GLOUCESTER STUDIO / 20a / PROMENADE VILLAS / CHELTENHAM” and “Autotype Prints or Permanent Porcelain enlargements can be made from this plate” flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, photograph of miss eva carmichael, eva carmichael, loch ard shipwreck, county of gloucester studio -
Flagstaff Hill Maritime Museum and Village
Tool - Moulding Plane
A moulding plane is a specialised plane used for making the complex shapes found in wooden mouldings that are used to decorate furniture or other wooden object. Traditionally, moulding planes were blocks of wear resistant hardwood, often beech or maple, which were worked to the shape of the intended moulding. The blade, or iron was likewise formed to the intended moulding profile and secured in the body of the plane with a wooden wedge. A traditional cabinetmakers shop might have many, perhaps hundreds, of moulding planes for the full range of work to be performed. Large crown mouldings required planes of six or more inches in width, which demanded great strength to push and often had additional peg handles on the sides, allowing the craftsman's apprentice or other worker to pull the plane ahead of the master who guided it. A vintage tool made by an unknown maker, this item was made commercially for firms and individuals who worked in wood and needed a tool that could produce a ornamental finish to timber. These profiled planes came in various shapes and sizes to achieve a decorative finish. This item is a significant tool from the mid to late 19th century that today is quite rare and sought after by collectors. It gives us a snapshot of how furniture and other decorative finishes were created on timber by the use of hand tools. Moulding Plane, concave cut.Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village -
Flagstaff Hill Maritime Museum and Village
Tool - Wood Moulding Plane
A moulding plane is a specialised plane used for making the complex shapes found in wooden mouldings that are used to decorate furniture or other wooden object. Traditionally, moulding planes were blocks of wear resistant hardwood, often beech or maple, which were worked to the shape of the intended moulding. The blade, or iron was likewise formed to the intended moulding profile and secured in the body of the plane with a wooden wedge. A traditional cabinetmakers shop might have many, perhaps hundreds, of moulding planes for the full range of work to be performed. Large crown mouldings required planes of six or more inches in width, which demanded great strength to push and often had additional peg handles on the sides, allowing the craftsman's apprentice or other worker to pull the plane ahead of the master who guided it. A vintage tool made by an unknown maker, this item was made commercially for firms and individuals that worked in wood and needed a tool that could produce a ornamental finish to timber. The tool was used before routers and spindle moulders came into use to produce a decorative moulding for a piece of furniture, door trims etc, or other timber items that had to be accomplished by using hand tools and in particular one of these types of planes. Profiled planes came in various shapes and sizes to achieve the required decorative finish. A significant tool from the mid to late 19th century that today is sought after by collectors. It gives us a snapshot of how furniture and other decorative finishes were created on timber by the use of hand tools. Moulding Plane W size has 4 screws holding side together (repair)J Allin GN stamped inside W size 16 one end and Inglis R F Sharp on other end.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village -
Flagstaff Hill Maritime Museum and Village
Tool - Moulding Plane, J Hastie, 1766-1802
A moulding plane is a specialised plane used for making the complex shapes found in wooden mouldings that are used to decorate furniture or other wooden object. Traditionally, moulding planes were blocks of wear resistant hardwood, often beech or maple, which were worked to the shape of the intended moulding. The blade, or iron was likewise formed to the intended moulding profile and secured in the body of the plane with a wooden wedge. A traditional cabinetmakers shop might have many, perhaps hundreds, of moulding planes for the full range of work to be performed. Large crown mouldings required planes of six or more inches in width, which demanded great strength to push and often had additional peg handles on the sides, allowing the craftsman's apprentice or other worker to pull the plane ahead of the master who guided it.A vintage tool used before routers and spindle moulders came into use after World War ll, a time when to produce a decorative moulding for a piece of furniture was done by hand using one of these types of plane. A significant item from the mid to late 19th century that today is quite rare and sought after by collectors. It gives us a snapshot of how furniture was made predominately by hand and with tools that were themselves hand made shows the craftsmanship used to make such a unique item. Moulding Plane Hollow type No15 J Hastie Stamped EG W.M flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village -
Flagstaff Hill Maritime Museum and Village
Tool - Wood moulding Plane, 1890-1920
A moulding plane is a specialised plane used for making the complex shapes found in wooden mouldings that are used to decorate furniture or other wooden object. Traditionally, moulding planes were blocks of wear resistant hardwood, often beech or maple, which were worked to the shape of the intended moulding. The blade, or iron was likewise formed to the intended moulding profile and secured in the body of the plane with a wooden wedge. A traditional cabinetmakers shop might have many, perhaps hundreds, of moulding planes for the full range of work to be performed. Large crown moulding required planes of six or more inches in width, which demanded great strength to push and often had additional peg handles on the sides, allowing the craftsman's apprentice or other worker to pull the plane ahead of the master who guided it.A vintage tool made by an unknown company, this item was made commercially for firms and individuals that worked in wood and needed a tool that could produce a ornamental finish to timber. The tool was used before routers and spindle moulders came into use after World War ll, a time when to produce a decorative moulding for a piece of furniture, door trims etc. or other items had to be accomplished using hand tools and in particular one of these types of planes. These profiled planes came in various shapes and sizes to achieve a decorative finish. A significant tool from the mid to late 19th century that today is quite rare and sought after by collectors. It gives us a snapshot of how furniture and other decorative finishes were created on timber by the use of hand tools. Tools that were themselves hand made shows the craftsmanship used during this time not only to make a tool such as the subject item but also the craftsmanship needed to produce a decorative finish that was needed to be made for any timber item. Wood Moulding, plane Rabbet Hollow type Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village -
Flagstaff Hill Maritime Museum and Village
Tool - Complex Moulding Plane, Mid to Late 19th Century
A moulding plane is a specialised plane used for making the complex shapes found in wooden mouldings that are used to decorate furniture or other wooden object. Traditionally, moulding planes were blocks of wear resistant hardwood, often beech or maple, which were worked to the shape of the intended moulding. The blade, or iron was likewise formed to the intended moulding profile and secured in the body of the plane with a wooden wedge. A traditional cabinetmakers shop might have many, perhaps hundreds, of moulding planes for the full range of work to be performed. Large crown mouldings required planes of six or more inches in width, which demanded great strength to push and often had additional peg handles on the sides, allowing the craftsman's apprentice or other worker to pull the plane ahead of the master who guided it.A vintage tool made by an unknown maker, this item was made commercially for firms and individuals who worked in wood and needed a tool that could produce a ornamental finish to timber. These profiled planes came in various shapes and sizes to achieve a decorative finish. Although the item is marked J Dixon no reference can be found at this time for a maker of complex moulding planes J Dixon of London. The plane could have been made by an unknown maker and sold through a merchandising agent of which there was one in London at the time. It is this agent J Dixon that could have stamped his mark on the item and then sold the plane on giving the impression J Dixon was the maker, this practice was quite common in the 18th & 19th centuries. This item is still regarded as a significant tool from the mid to late 19th century that today is quite rare and sought after by collectors. It gives us a snapshot of how furniture and other decorative finishes were created on timber by the use of hand tools. Panel Plough Plane white wood, blade missing. Stamped "J Dixon London" also has the letter "B" stamped flagstaff hill, warrnambool, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, wood working, cabinet making, complex moulding plane, j dixon london, mouldings -
Flagstaff Hill Maritime Museum and Village
Tool - Wood Smoothing Plane, Late 18th to Early 19th Century
A block, jack or smoothing plane is used for making a smooth finish to timber that is used to make furniture or other wooden objects. Traditionally, wood planes were blocks of wear-resistant hardwood, often beech or maple, which were worked to the intended shape of the item being worked on. The blade or iron was likewise formed to a flat shape and secured in the body of the plane with a wooden wedge. A traditional cabinetmakers' shop might have many, perhaps hundreds, of smoothing and moulding planes for the full range of work to be performed. Large crown mouldings required planes of six or more inches in width, which demanded great strength to push and often had additional peg handles on the sides, allowing the craftsman's apprentice or other workers to pull the plane ahead of the master who guided it. A vintage tool by an unknown maker, this item was made for cabinet-making firms and individuals that worked in wood and needed a tool that could remove large amounts of timber. These jack, block or dressing planes as they were known came in various shapes and sizes to achieve a flat and even finish to timber surfaces before the use of mechanical smoothing planes and came in many sizes. A significant tool from the late 18th to early 19th century that's pattern or shape is still in use today. Early models of this type of woodworking plane are sought after by collectors today. This tool gives us a snapshot of how furniture and other finishes were created on timber by the use of cutting-edged hand tools used by craftsmen of the time. Tools that were themselves handmade, demonstrating the craftsmanship used during this time not only to make a tool such as the subject item but also the craftsmanship needed to produce either a decorative or even finish for timber items. Smoothing Plane blade and wedge present. Raised handle at front end. Right-hand wedge guide broken away. Noneflagstaff hill, warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, plane, wood plane, cabinet makers tools, furniture making -
Flagstaff Hill Maritime Museum and Village
Tool - Wood moulding Plane, Mid to late 19th century
A moulding plane is a specialised plane used for making the complex shapes found in wooden mouldings that are used to decorate furniture or other wooden object. Traditionally, moulding planes were blocks of wear resistant hardwood, often beech or maple, which were worked to the shape of the intended moulding. The blade, or iron was likewise formed to the intended moulding profile and secured in the body of the plane with a wooden wedge. A traditional cabinetmakers shop might have many, perhaps hundreds, of moulding planes for the full range of work to be performed. Large crown mouldings required planes of six or more inches in width, which demanded great strength to push and often had additional peg handles on the sides, allowing the craftsman's apprentice or other worker to pull the plane ahead of the master who guided it.A vintage tool made by an unknown maker, this item was made commercially for firms and individuals that worked in wood and needed a tool that could produce a ornamental finish to timber. The tool was used before routers and spindle moulders came into use to produce a decorative moulding for a piece of furniture, door trims etc. or other timber items that had to be accomplished by using hand tools and in particular one of these types of planes. Profiled planes came in various shapes and sizes to achieve the required decorative finish. A significant tool from the mid to late 19th century that today is sought after by collectors. It gives us a snapshot of how furniture and other decorative finishes were created on timber by the use of hand tools. Tongue and groove match plane with metal strip affixed with 5 screws Mc Vicar stamped on end and No 2. flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village -
Flagstaff Hill Maritime Museum and Village
Tool - Plane, James Hastie, Late 19th to Early 20th Century
A moulding plane is a specialised plane used for making the complex shapes found in wooden mouldings that are used to decorate furniture or other wooden object. Traditionally, moulding planes were blocks of wear resistant hardwood, often beech or maple, which were worked to the shape of the intended moulding. The blade, or iron was likewise formed to the intended moulding profile and secured in the body of the plane with a wooden wedge. A traditional cabinetmakers shop might have many, perhaps hundreds, of moulding planes for the full range of work to be performed. Large crown mouldings required planes of six or more inches in width, which demanded great strength to push and often had additional peg handles on the sides, allowing the craftsman's apprentice or other worker to pull the plane ahead of the master who guided it.A vintage tool used before routers and spindle moulders came into use after World War ll, a time when to produce a decorative moulding for a piece of furniture was done by hand using one of these types of plane. A significant item from the mid to late 19th century that today is quite rare and sought after by collectors. It gives us a snapshot of how furniture was made predominately by hand and with tools that were themselves hand made shows the craftsmanship used to make such a unique item. Moulding Plane with metal blade attached. Made by J Hastie. Inscriptions stamped into wood. "J Hastie" "E G" "W.M" "EG" "11"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, j hastie, plane, wood working tool, hand tool -
Flagstaff Hill Maritime Museum and Village
Tool - Plane, Early to Mid 19th Century
A moulding plane is a specialised plane used for making the complex shapes found in wooden mouldings that are used to decorate furniture or other wooden object. Traditionally, moulding planes were blocks of wear resistant hardwood, often beech or maple, which were worked to the shape of the intended moulding. The blade, or iron was likewise formed to the intended moulding profile and secured in the body of the plane with a wooden wedge. A traditional cabinetmakers shop might have many, perhaps hundreds, of moulding planes for the full range of work to be performed. Large crown mouldings required planes of six or more inches in width, which demanded great strength to push and often had additional peg handles on the sides, allowing the craftsman's apprentice or other worker to pull the plane ahead of the master who guided it.A significant item from the mid to late 19th century that today is quite rare and sought after by collectors. It gives us a snapshot of how furniture was made predominately by hand and with tools that were themselves hand made shows the craftsmanship used to make such a unique item. It also gives an insight into how many manufacturing companies bid for the rights to use prison labour to make their products at this time in our history. Moulding Plane T S Richards & Co. J Heath owner stamped. No 4/8 opposite endflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, plane moulding, moulding plane, plane, j heath, t s richards & co -
Flagstaff Hill Maritime Museum and Village
Tool - Plane, Mid to late 19th Century
A moulding plane is a specialised plane used for making the complex shapes found in wooden mouldings that are used to decorate furniture or other wooden object. Traditionally, moulding planes were blocks of wear resistant hardwood, often beech or maple, which were worked to the shape of the intended moulding. The blade, or iron was likewise formed to the intended moulding profile and secured in the body of the plane with a wooden wedge. A traditional cabinetmakers shop might have many, perhaps hundreds, of moulding planes for the full range of work to be performed. Large crown mouldings required planes of six or more inches in width, which demanded great strength to push and often had additional peg handles on the sides, allowing the craftsman's apprentice or other worker to pull the plane ahead of the master who guided it.A vintage tool made by an unknown company, this item was made commercially for firms and individuals that worked in wood and needed a tool that could produce a ornamental finish to timber. The tool was used before routers and spindle moulders came into use after World War ll, a time when to produce a decorative moulding for a piece of furniture, door trims etc or other items had to be accomplished using hand tools and in particular one of these types of planes. These profiled planes came in various shapes and sizes to achieve a decorative finish. A significant tool from the mid to late 19th century that today is quite rare and sought after by collectors. It gives us a snapshot of how furniture and other decorative finishes were created on timber by the use of hand tools. Tools that were themselves hand made shows the craftsmanship used during this time not only to make a tool such as the subject item but also the craftsmanship needed to produce a decorative finish that was needed to be made for any timber item. Moulding Plane 4 screws attached to wood bottom plateJ Heath. 1/2 inch on opposite end.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, plane moulding, j heath -
Flagstaff Hill Maritime Museum and Village
Tool - Plane, Mid to late 19th Century
A moulding plane is a specialised plane used for making the complex shapes found in wooden mouldings that are used to decorate furniture or other wooden object. Traditionally, moulding planes were blocks of wear resistant hardwood, often beech or maple, which were worked to the shape of the intended moulding. The blade, or iron was likewise formed to the intended moulding profile and secured in the body of the plane with a wooden wedge. A traditional cabinetmakers shop might have many, perhaps hundreds, of moulding planes for the full range of work to be performed. Large crown mouldings required planes of six or more inches in width, which demanded great strength to push and often had additional peg handles on the sides, allowing the craftsman's apprentice or other worker to pull the plane ahead of the master who guided it.A vintage tool made by an unknown company, this item was made commercially for firms and individuals that worked in wood and needed a tool that could produce a ornamental finish to timber. The tool was used before routers and spindle moulders came into use after World War ll, a time when to produce a decorative moulding for a piece of furniture, door trims etc or other items had to be accomplished using hand tools and in particular one of these types of planes. These profiled planes came in various shapes and sizes to achieve a decorative finish. A significant tool from the mid to late 19th century that today is quite rare and sought after by collectors. It gives us a snapshot of how furniture and other decorative finishes were created on timber by the use of hand tools. Tools that were themselves hand made shows the craftsmanship used during this time not only to make a tool such as the subject item but also the craftsmanship needed to produce a decorative finish that was needed to be made for any timber item. Circular moulding Rabbet Plane Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, circular rabbet plane, plane -
Flagstaff Hill Maritime Museum and Village
Tool - Moulding Plane, Mid to late 19th Century
A moulding plane is a specialised plane used for making the complex shapes found in wooden mouldings that are used to decorate furniture or other wooden object. Traditionally, moulding planes were blocks of wear resistant hardwood, often beech or maple, which were worked to the shape of the intended moulding. The blade, or iron was likewise formed to the intended moulding profile and secured in the body of the plane with a wooden wedge. A traditional cabinetmakers shop might have many, perhaps hundreds, of moulding planes for the full range of work to be performed. Large crown mouldings required planes of six or more inches in width, which demanded great strength to push and often had additional peg handles on the sides, allowing the craftsman's apprentice or other worker to pull the plane ahead of the master who guided it.A vintage tool made by an unknown company, this item was made commercially for firms and individuals that worked in wood and needed a tool that could produce a ornamental finish to timber. The tool was used before routers and spindle moulders came into use after World War ll, a time when to produce a decorative moulding for a piece of furniture, door trims etc or other items had to be accomplished using hand tools and in particular one of these types of planes. These profiled planes came in various shapes and sizes to achieve a decorative finish. A significant tool from the mid to late 19th century that today is quite rare and sought after by collectors. It gives us a snapshot of how furniture and other decorative finishes were created on timber by the use of hand tools. Tools that were themselves hand made shows the craftsmanship used during this time not only to make a tool such as the subject item but also the craftsmanship needed to produce a decorative finish that was needed to be made for any timber item. Moulding Plane H Heathflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, plane moulding, plane -
Federation University Art Collection
Ceramic, Gwyn Hanssen Pigott, Woodfired Bowl by Gwyn Hanssen Piggot, c1986
Gwyn HANSSEN PIGGOT (1935-2013) Born Ballarat Gwyn Hanssen Piggot completed a Bachelor of Fine Arts at Melbourne University in 1954. She spent three years apprenticed to Ivan McMeekin at Sturt Pottery, Mittagong, New South Wales. Between 1958 and 1965 Gwyn Hanssen-Pigott worked at various potteries in the United Kingdom, including Winchcombe Pottery in Gloucestershire, Leach Pottery at St Ives, and Wenford Bridge Pottery and Aldermaston Pottery in Berkshire. In 1960 she established her own studio in London. The essence of her work is purity, simplicity and form. She worked with porcelain for strength and for its translucent nature, and fired with wood to add a dine ash bloom to glazes. In 1992 Gwyn Hanssen Piggot was artist in residence at the Ballarat School of Mines.A small woodfired bowl by internationally renown ceramicist Gwyn Hanssen Piggot. gwyn hanssen-pigott, ceramics, gippsland campus, bowl, jan feder memorial ceramics collection, woodfire 86 -
Melbourne Legacy
Document, The History of the Footscray/Sunshine Branch
This history was put together by Legatee Ron Crosbie, branch secretary 1959-1963, 1968-1974 and 1995-1999. Appendix 4 gives an account of where the information was sourced from. This short history deails the formation until the branch combined with the Williamstown/Werribee branch to form The Western Branch. In quite some detail Ron Crosbie describes the gathering together of several Legatees to form the new branch. Also the change in priorities to be addressed as the years passed - the widows grew older, their needs changed, their children grew up and left school to be apprenticed, tertiary studies or other work. Details of members inducted, office bearers, activities to help widows and families, fund raising and not to forget, some good stories are all accounted for in this history and the appendices.A thorough account of the work of Legacy and Legatees and the support of many Legatees wives at branch level. This account was typical of "Legacy at Work" amongst the branches.White A4 paper, black type, x 14 pages of the history of Footscray/Sunshine Branch.footscray sunshine history, branch -
Melbourne Tram Museum
Magazine, Melbourne & Metropolitan Tramways Board (MMTB), "Metra News", 1980 to 1982
Magazine, two colour printed on A2 sheet, folded to A3, "METRA News", published by the MMTB. Each issue unless noted otherwise four pages. Major items listed. Each issue has personnel news, including new staff, promotions, overseas items; .0 - Autumn 1980 - Passenger counting, Survey provides data, We lead the way with Z3, Wattle Park, transport in Moscow, Spike Milligan, Melbourne's decorated trams, transporting art, sports, training, and Raymond Stock, Assistant Traffic Manager Revenue. See htd1026i1 and i2 for images. .1 - Winter 1980 - Bourke St Mall is popular, Senior citizens help design new tram (Z3), A bus-only lane in Johnstone St., Depot Employees' Social and facility Melbourne. Has a profile on Mr R. C. Drummond, Traffic Manager. .2 - Spring 1980 - Christmas Message, supporting those children with polio in 1938, Trolley buses, Z3 trams being built, use of parafil in overhead, cleaning truck. Has a profile on Ken Hall, Assistant Chief Engineer - Mechanical and Reg Robinson who was the organiser for the 1938 polio event - bus driver / instructor. .3 - Summer 1981 - MMTB involvement with Australia Day pageant, note involvement of TMSV, Bendigo, BTPS 27 (26 Jan. 1981), film on apprentices, tram stop shelters, resilient track work, trolley buses, the supply and systems department including Hawthorn clothing workroom and printing department (photos) and profile on Mr Jerry Compton, Supply and systems department. (Two copies held) .4 - Autumn 1981 - new buildings at Footscray, South Melbourne, trolley buses for Melbourne?, building MAN buses, why join the Tramways Benefit Society, article that looks at the Engineering Branch and profile of John Grigg, Chief Engineer. (Two copies held) .5 - Winter 1981 - New passenger shelters, image of the Elizabeth St shelter proposal, where do old trams go?, "Around the Clock" Emergency Service (item on R10) (See Reg item 1004 for photo), formation of Tramway's Sporting Associations, retirement of Board's driver Peter Savage, bus driving school transferred to Hawthorn, Apprentices and Profile on Bill Sibbison, Depot Manager North Fitzroy. .6 - Spring 1981 - 8 pages - Making of Squizzy Taylor film - Flinders St station, Engineering Amenities at South Melbourne opened, traverser at Preston Workshops, track work - pressing curves at South Melbourne, Conductresses re-union, model tramway at the Royal Show, retirements, sporting association, tramway band, AVM, reducing noise levels, lists Editorial committee. .7 - Summer 1981 - 8 pages - Its Christmas Party time, want to charter a tram or bus?, portable radios, MMTB role in Paraplegic Games, MMTB Architect Gene Marshall retires, photo of WW2 most popular conductresses ball, MMTB Highlights, O-Bahn. Has a profile on Rob Downing - Deputy Chairman. Also Dick Newnham - lift operator at head office, Bob Moffatt - driver turned actor. Also has a follow up on the making of the Squizzy Taylor film "What's wrong with Squizzy" and a photo of the Editorial team and their names. .8 - Autumn 1982 - 8 pages - item on "Taking Melbourne by Storm", photo of Austerity bus 500, Radio Centre, Clifton Pugh tram 504, Essendon Depot (see Reg Item 1005) includes of photos of managers, revenue etc, story on the most popular conductress photo by Win Gibson (see Reg item 180 and 181), new apprentices, John Murdoch model train (Diamond Valley) builder, Sunday vintage tram service (V214) and L class to the zoo. Has a profile on Mr. Peter Saul, Architect. (two copies held) (see image 1178i5 for cover) .9 - Winter 1982 - 8 pages - changes to Doncaster bus - Eastern Free extension, changes to Ministry will affect Board - Steve Crabb, new uniforms, Footscray Depot, apprentice awards, follow up on Austerity buses, Norm Cross and Destination City, Profile on Alan Nolan Runningsheds Engineer, and Mike McLeod MMTB Photographer. (two copies held) .10 - Spring 1982 - book - see Melbourne by tram, Bundoora tramway work, new articulated vehicles (B class trams), Elizabeth St modal interchange shelter, Brunswick depot, demise of the F class bus (Mark VI), profile of Daryl Meade bus engineer, Joe Saccasan carpenter building branch and a list of Jargon. (two copies held).trams, tramways, mmtb, z3 class, bourke st, track equipment, overhead, most popular conductress competition, hawthorn depot, clothing, trolley buses, fund raising, footscray, welfare, sale of trams, recovery, r10 vehicle, flinders st, films, radio centre, essendon depot, theatre, transporting art, austerity buses, footscray depot, doncaster, minister for transport, shelters, bundoora, brunswick depot, buses, mont albert, route 42 -
Orbost & District Historical Society
match box cover, 1950-1960's
This was owned and used by J.G. Ralston of Orbost. John Gavin Ralston was born 26 July 1914 at Eden, N.S.W. and came to Orbost in the early 1920's, with his parents and siblings. They lived at the corner of Tennyson and Salisbury Streets. Jack was educated at Orbost Higher Elementary School before being apprenticed to William Ross at the Snowy River Mail as a lino-type operator. He married Jean Cameron. After WW11 when he served overseas in the islands) He resumed his trade at the Snowy River Mail until 1949 when began J.G.& J.M. Ralston, Seed & Produce Merchants. Jack Ralston was very involved in the Orbost sporting community, the Presbyterian Church and the Orbost Municipal Band. He also served in the Orbost sub-branch of the R.S.L. He died on April 15 1967. (ref. Margaret Smith O.D.H.S. Newsletter) Collecting match box holders / grips was a popular hobby. They were made to fit over a box of matches for protection. Some were especially produced for significant occasions. This item is an example of a very common personal item rarely used today.A painted metal matchbox cover with a thin wooden matchbox inside. It is cream coloured with a picture of a cricketer being bowled out. In the top right hand corner is "OWZAT". The matches are Bryant & May's Crown Safety Matches. it is a rectangular cardboard box with a sliding cardboard drawer. The box has a paper label with text reading, "BRYANT & MAY'S CROWN SAFETY MATCHES" and an image of a crown. The top and bottom side has a purple striking paper, to light match. Bottom and sides of sliding drawer are a green color.J.G.Ralstonmatchbox-holder smoking-accessories ralston-j.g. -
Warrnambool and District Historical Society Inc.
Boot, Tom Rome, Early 20th century
This boot belonged to Thomas Rome and may have been either an apprentice’s model or a display item in his boot and shoe shop or both. Thomas James Rome (1873-1974) worked in John Younger’s store in Beechworth before both came to Warrnambool in 1888. Rome worked in Younger’s store in Liebig Street, Warrnambool for 17 years and then established his own boot and shoe store at 115 Liebig Street in 1907, retiring in 1962. He married Amelia Saltau and they lived at Murweh at the corner of Liebig and Princess Streets, Warrnambool. Thomas Rome is mostly remembered today for his purchase and use of an Edison phonograph machine in the late 1890s and the sound recordings he made with this machine at the Warrnambool Industrial and Art Exhibition of 1896-7. These recordings were found intact after Rome’s death and are regarded as the earliest sound recordings still surviving in Australia today. This sample boot is of great significant as an example of the bootmaker’s art in the early 20th century and as a memento of Thomas Rome, important in Warrnambool’s history as a businessman and in the history of sound recording in Australia. This is a small sample black leather boot (probably a lady’s boot). It has double ridged stitching across the instep with a soft leather upper part and stitching separating the soft leather section from the smooth leather. The right side of the boot has seven button holes and seven buttons attached with metal clips. The sole is leather with a small heel and the name of the owner stamped on the sole. ‘10’ ‘T.J.Rome’ thomas rome, history of warrnambool, antique lady's boot, leather boot vintage -
Warrnambool and District Historical Society Inc.
Plaque, Tom Corrigan, Late 19th century
This plaque is a memento of the famous Victorian jumps jockey, Tom Corrigan. He was Australia’s best-known and best-loved jockey of the 19th century. Born in County Meath, Ireland, son of Thomas Corrigan and his wife Bridget, née Carney, he came at the age of ten with his parents to Woodford, near Warrnambool. He was apprenticed to racehorse owner, Francis Tozer of Wangoom and quickly built up a fine reputation as an accomplished horseman, especially in jumps racing. From 1866 until his death from a racing fall in 1894, he won 239 races with 135 seconds and 95 thirds from a total of 788 mounts. This included seven Grand National race wins and four Warrnambool Grand Annual Steeplechase wins. Corrigan, very small in stature with a huge handlebar moustache, was a popular, genial person. This plaque is an interesting memento of the Woodford-raised jockey, Tom Corrigan. His name is now on the Australian Racing Hall of Fame.This is a silver-coloured metal image (bust) of the jockey, Tom Corrigan. The chest section of the image is attached to the two ends of a horseshoe- shaped frame. The bottom of the horseshoe frame has representations of the reins and two feet of a horse with a jockey cap in the middle. The name of the jockey is embedded into the metal at the top of the plaque. One section of the horseshoe on the edge has been broken. The plaque is slightly stained. ‘Tom Corrigan’tom corrigan, jockey, history of warrnambool -
Federation University Art Collection
Ceramic - Artwork - Ceramic, 'Wood Fired Urn' by Robert Barron
Robert BARRON (1957- ) Born in Harpenden, England. Robert Barron first worked full-time with clay in 1976, the family pottery at Croydon, Victoria. In 1979, he left Australia on a five-year journey to New Zealand, North America, England, Europe, and South Korea to work with skilled potters in woodfiring. During this time, he visited Michael Cardew at Wenford Bridge Pottery, Cornwall, UK., and was engaged as an apprentice at Cornwall Bridge Pottery, Connecticut, USA. Returning to Australia in 1984, he established Gooseneck Pottery at Kardella, Victoria. With the assistance of a Crafts Board grant Robert Barron built a 1000 cubic ft five-chambered Nabori-Gama style woodfired kiln. This kiln one of the largest wood-fired kilns in Australia. Robert Barron is influenced by the philosophies of Bernard Leach and Michael Cardew.artwork, artist, ceramic, gippsland campus, robert barron -
Flagstaff Hill Maritime Museum and Village
Tool - Wood moulding Plane, Christopher Gabriel, 18th Century
The story of Christopher Gabriel born on April 2, 1746, in Falmouth England is a tale of a poor boy who made good. Shortly before he turned thirteen years of age in 1759 he was apprenticed to a local master carpenter, recorded as a Mr Barnicot the master trained his apprentice well as we can assume by Christopher's later successes. The apprenticeship ended in 1766 after seven years when Christopher reached twenty. Then in 1768, he relocated to London walking the two hundred miles from Falmouth carrying his possessions in a sack. He no sooner arrived in London when he met Alice Trowell who became his wife in March 1769. They set up house on Albermarie Street Clerkenwell and by the first of 1770, Gabriel had begun his business of plane making. It has been speculated that Gabriel took over the shop of John Cogdell aided with an investment from his in-laws of 131 pounds. He went on to prosper as a plane maker and lumber merchant over the next forty years. His business did well and in 1774 Gabriel moved to a house in Golden Lane, London and 1779 moved again to a home in Ould Street London. By now Gabriel was making a name for himself and his business at this time was located at 32 Banner Street Golden Lane, the following year he purchased another home in Banner Street and 1793 purchased the house next door. At the time of his death in 1808, he owned twenty-seven houses and commercial building. Christopher Gabriel s descendants became quite prominent in England and his grandson, Sir Thomas Gabriel became the Sheriff of London and Middlesex in 1859 and the Lord Mayor of London 1866 and 1867. Gabriel was an extremely prolific plane maker with a lot of examples made in the 18th century can still be found today. He made good quality tools and was an innovator of several new plane designs. A vintage tool made by a well-known plane maker, this item was made commercially for firms and individuals that worked in wood and needed a tool that could give a decorative finish to timber. These planes came in various shapes and sizes to achieve a finish to timber surfaces and came in many sizes. A significant Christopher Gabriel plane from the mid to late 18th century that after 200 years can still be used today. Planes made by Gabriel are eagerly sought after by collectors. The tool gives us a snapshot of how furniture and other finishes were created on timber by the use of cutting edged hand tools. Tools that were themselves hand made shows the craftsmanship used during this time not only to make a tool such as the subject item but also the craftsmanship needed to produce a decorative or even finish that was needed for the finishing of timber items. Plane Moulding Reverse Ogee with two squares type Maker stamped Gabriel also stamped JB & No 9flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village -
Flagstaff Hill Maritime Museum and Village
Tool - Wood Moulding Plane, 1770-1809
The story of Christopher Gabriel born on April 2, 1746, in Falmouth England is a tale of a poor boy who made good. Shortly before he turned thirteen years of age in 1759 he was apprenticed to a local master carpenter, recorded as a Mr Barnicot the master trained his apprentice well as we can assume by Christopher's later successes. The apprenticeship ended in 1766 after seven years when Christopher reached twenty. Then in 1768, he relocated to London walking the two hundred miles from Falmouth carrying his possessions in a sack. He no sooner arrived in London when he met Alice Trowell who became his wife in March 1769. They set up house on Albermarie Street Clerkenwell and by the first of 1770, Gabriel had begun his business of plane making. It has been speculated that Gabriel took over the shop of John Cogdell aided with an investment from his in-laws of 131 pounds. He went on to prosper as a plane-maker and lumber merchant over the next forty years. His business did well and in 1774 Gabriel moved to a house in Golden Lane, London and 1779 moved again to a home in Ould Street London. By now Gabriel was making a name for himself and his business at this time was located at 32 Banner Street Golden Lane, the following year he purchased another home in Banner Street and 1793 purchased the house next door. At the time of his death in 1808, he owned twenty-seven houses and commercial building. Christopher Gabriel s descendants became quite prominent in England and his grandson, Sir Thomas Gabriel became the Sheriff of London and Middlesex in 1859 and the Lord Mayor of London 1866 and 1867. Gabriel was an extremely prolific plane-maker with a lot of examples made in the 18th century can still be found today. He made good quality tools and was an innovator of several new plane designs. A vintage tool made by a well-known plane-maker, this item was made commercially for firms and individuals that worked in wood and needed a tool that could give a decorative finish to timber. These planes came in various shapes and sizes to achieve a finish to timber surfaces and came in many sizes. A significant Christopher Gabriel plane from the mid to late 18th century that after 200 years can still be used today. Planes made by Gabriel are eagerly sought after by collectors. The tool gives us a snapshot of how furniture and other finishes were created on timber by the use of cutting edged hand tools. Tools that were themselves hand made shows the craftsmanship used during this time not only to make a tool such as the subject item but also the craftsmanship needed to produce a decorative or even finish that was needed for the finishing of timber items. Moulding multi patterned plane has a "5" long bladeStamped Maker C Gabriel (owner JB).flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, side rabbet plane, gabriel m hobling -
Flagstaff Hill Maritime Museum and Village
Tool - Moulding Plane, 1770-1809
The story of Christopher Gabriel born on April 2, 1746, in Falmouth England is a tale of a poor boy who made good. Shortly before he turned thirteen years of age in 1759 he was apprenticed to a local master carpenter, recorded as a Mr Barnicot the master trained his apprentice well as we can assume by Christopher's later successes. The apprenticeship ended in 1766 after seven years when Christopher reached twenty. Then in 1768, he relocated to London walking the two hundred miles from Falmouth carrying his possessions in a sack. He no sooner arrived in London when he met Alice Trowell who became his wife in March 1769. They set up house on Albermarie Street Clerkenwell and by the first of 1770, Gabriel had begun his business of plane making. It has been speculated that Gabriel took over the shop of John Cogdell aided with an investment from his in-laws of 131 pounds. He went on to prosper as a plane-maker and lumber merchant over the next forty years. His business did well and in 1774 Gabriel moved to a house in Golden Lane, London and 1779 moved again to a home in Ould Street London. By now Gabriel was making a name for himself and his business at this time was located at 32 Banner Street Golden Lane, the following year he purchased another home in Banner Street and 1793 purchased the house next door. At the time of his death in 1808, he owned twenty-seven houses and commercial building. Christopher Gabriel s descendants became quite prominent in England and his grandson, Sir Thomas Gabriel became the Sheriff of London and Middlesex in 1859 and the Lord Mayor of London 1866 and 1867. Gabriel was an extremely prolific plane-maker with a lot of examples made in the 18th century can still be found today. He made good quality tools and was an innovator of several new plane designs. A vintage tool made by a well-known plane-maker, this item was made commercially for firms and individuals that worked in wood and needed a tool that could give a decorative finish to timber. These planes came in various shapes and sizes to achieve a finish to timber surfaces and came in many sizes. A significant Christopher Gabriel plane from the mid to late 18th century that after 200 years can still be used today. Planes made by Gabriel are eagerly sought after by collectors. The tool gives us a snapshot of how furniture and other finishes were created on timber by the use of cutting edged hand tools. Tools that were themselves hand made shows the craftsmanship used during this time not only to make a tool such as the subject item but also the craftsmanship needed to produce a decorative or even finish that was needed for the finishing of timber items. Side Rabbet Plane Stamped Maker Gabriel (owner M Hobling).flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, side rabbet plane, gabriel m hobling