Showing 520 items
matching timber work
-
Tatura Irrigation & Wartime Camps Museum
Work bench, 1943
... Tatura the-murray Work bench Workshop bench (timber) Made ...Made and used at Camp 13. Purchased 1948 at the camp clearing sale by Dave Campbell. Passed on to W. Finlay in 1980. Given to this museum by him in 2010.Workshop bench (timber)tatura, camp 13, murchison, ww2, handcrafts, woodwork -
Tatura Irrigation & Wartime Camps Museum
Painting - Painting - Watercolour, 1945
Watercolour painting done by internee Baron von Brandenstein whilst an internee in Camp 1 Tatura.small water colour painting of gum trees, blue sky and white clouds in light coloured timber frame with glass.on back: painted by Baron von Brandenstein 1945 in Tatura German Internment Camp. Signed on front left bottom - CB 1945baron von brandenstein, camp 1 art work, watercolour painting, ww2 internee art work -
Buda Historic Home & Garden Castlemaine
Domestic furniture, Arts and Crafts embroidered draught screen, c1900
This screen with embroidered and appliqued panels was entered in the First Australian Exhibition of Women's Work 1907, at the Royal Exhibition Building in Melbourne. This landmark exhibition gave women artists and craft workers an opportunity to display their works to a broad audience and gain recognition for the variety and high standard of the works in both traditional and non-traditional fields for women. The embroidery and applique design is based on an original design for a similar object made by British Arts and Crafts Architect and Designer, M.H. Baillie-Scott, which was published in The Studio magazine in the early 1900s,This three-panel draught screen was made by Hilda Leviny in the Arts and Crafts style and entered into the First Exhibition of Women's Work, at the Exhibition Buildings, Melbourne in 1907.Arts and Crafts style three-panel draught screen made from timber(American Oak), linen panels, silk embroidery threads, beaten copper decoration and varnish. The embroidered panels, made by Hilda Leviny, are mounted within the timer framework, depicting a design of birds and trees in the Arts and Crafts style. Pattern Reg. No. 3227.2 and 2503. With copper decoration.hilda leviny, buda, castlemaine, domestic furniture, handcrafts, needlework, art nouveau, 1907, exhibition of women's work, royal exhibition building, woodwork, draught sceen, arts and crafts movement, embroidery and applique -
Benalla Art Gallery
Watercolour, George LACY, Hold up, Not dated
Born: London, Middlesex, England c.1817; Arrived: Sydney, New South Wales, Australia 1842; Died: Bathurst, New South Wales, Australia 1878ColonialLedger Bequest, 1993Watercolour with ink, depcicting two men being robbed at gunpoint in the bush. Immitation timber frame with black painted edge, gold brushed internal window edge, and off white window mountRecto: Signed "G.L." in grey watercolour in l.r.c of composition; Narrative as part of work, '"How much have you” – “only 2 ounces” – “2 ounces?!! You lazy rascal, after 6 months at the diggings if you don’t find more than that I’ll knock you into the middle of next week”' written in grey watercolour across the lower edge of the composition; Not dated; Not titledwatercolour, figures, animals, trees, gun, horse, theif -
Stawell Historical Society Inc
Photograph, Timber Portable Ticket Box at Central Park -- Coloured
Central Park timber Ticket Box. The two photos show the portable white weather board box with blue roof. The timber box was moved at Easter and placed in front of the Town Hall where tickets for the Stawell Gift were sold. This relieved the work load of the ticket boxes at Central Park. Information regarding the ticket boxes from news papers can also be found on catalogue worksheets folder.Two photos of the portable Ticket box constructed of weather board painted white with a blue roof. The Photo's shows the wheels under the box but also supported by a brick block. stawell -
Stawell Historical Society Inc
Photograph, Armstrong’s Area Houses c 1990's -- 2 Photos -- Coloured
Residence Fountainhead Brewery Armstrong's Est. c 1872. The rear view photograph shows a more recent renovated building. Some evidence of demolition to rear of building (servants stairs etc.) Following notes taken from information in album 9 - "Compare earlier photos and note balcony etc. Later views, This photo early 2003. Owing to timber decay balcony was removed for safety. Finances permitting complete balcony will be replaced. Twin columns and iron lace are not original. Early description mentions statues in "niches" beside door. Female statue left is original. White pedestal at left was male stature damaged by a falling tree. Both statues were fountains." Photographs taken by Mr. Don Richard and held in Album 9b Armstrong’s Area.Two coloured photographs, of a brick double story building. The front view of the building has 4 windows and 2 doors. Two white columns at the entrance with decorative iron work support the roof of the porch with 2 white chairs and a table on top. Either side of the entrance door are 2 white wall indents "niches" with pot plants. The second photo show the back view of the two story building with a single story building attached that has a tin roof. A timber fence with a gate shows the side entrance to the single story building. 648M NHNN 8H01HPRO3 WIMMERA 1MHGINGstawell -
Chiltern Athenaeum Trust
Painting - Oil Painting, Alfred Eustace
This is one of a set of 3 miniature oil paintings by the self-taught artist Alfred William Eustace (1820-1907). A.W. Eustace, an Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush and painted on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. He became known as the "Bush Artist." About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth. Miniature oil painting of a landscape, with creek in foreground and bush and hill behind, by A.W. Eustace, under glass, in original timber frame with beige matte and a twist wire stand. One of 3 miniatures. No signature visiblealfred eustace, chiltern, oil painting, landscape -
Chiltern Athenaeum Trust
Painting - Oil painting, Alfred Eustace
This is one of a set of 3 miniature oil paintings by the self-taught artist Alfred William Eustace (1820-1907). A.W. Eustace, an Australian artist and taxidermist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.Miniature oil painting of a landscape, with creek and grassland in foreground surrounded by bushland and hill in distance, by A.W. Eustace, under glass in original timber frame with beige matte and a twist wire stand. One of 3 miniatures. No signature visiblealfred eustace, oil painting, landscape, chiltern -
Chiltern Athenaeum Trust
Painting - Oil Painting, Alfred Eustace
This is one of a set of 3 miniature oil paintings by the self-taught artist Alfred William Eustace (1820-1907). A.W. Eustace, an Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.Miniature oil painting of a landscape with creek and surrounding trees by A.W. Eustace, under glass, in original dark brown timber frame with beige matte and a twist wire stand. One of 3 miniatures. Sticker on back: 188 (original Registration number)alfred eustace, chiltern, oil, landscape -
Nillumbik Shire Council
Photograph: Jessie IMAM, Jessie Imam, Untitled #3 (fox bones - ordered), 2012
This work forms a pair with Untitled #4 (fox bones – pattern) / This work draws on ideas of death and the traces of a body that death leaves behind / The work aims to confront the viewer with the concept of death, but it is not morbid or macabre in its consideration of it / Instead of fear the work presents a quiet and beautiful image that aims to portray a feeling of acceptance in the inevitable destruction of one's body / In this work the bones of a deceased fox were meticulously cleaned, bleached and layed out for photographing / No digital manipulation was used to arrange the bones / The same bones from the same fox were rearranged and used for the other work in this series. This work was completed in 2012 as part of the artist's residency in 2011 at Birrarung, Laughing Waters (Laughing Waters Artist in Residence program - LWAIR) managed by Nillumbik Shire Council / Works produced there take inspiration from the natural landscape and the creatures living within that particular environment.Print - digital photograph printed on hahnemuhle photo rag paper / edition 2 of 8 + 2 artist prints / Individual fox bones placed/layed out on a white background and arranged in an orderly fashion according to size and shape / Beige/neutral in colour / Blonde timber frame.No signatures / no personal markings / no framers identified. digital print / fox / bones / ordered / photograph / laughing waters / birrarung / imam / death -
Nillumbik Shire Council
Photograph: Jessie IMAM, Jessie Imam, Untitled #4 (fox bones - pattern), 2012
This work forms a pair with Untitled #3 (fox bones – ordered) / This work draws on ideas of death and the traces of a body that death leaves behind / The work aims to confront the viewer with the concept of death, but it is not morbid or macabre in its consideration of it / Instead of fear the work presents a quiet and beautiful image that aims to portray a feeling of acceptance in the inevitable destruction of one's body / In this work the bones of a deceased fox were meticulously cleaned, bleached and layed out for photographing / No digital manipulation was used to arrange the bones / The same bones from the same fox were rearranged and used for the other work in this series.This work was completed in 2012 as part of the artist's residency in 2011 at Birrarung, Laughing Waters (Laughing Waters Artist in Residence program - LWAIR) managed by Nillumbik Shire Council / Works produced there take inspiration from the natural landscape and the creatures living within that particular environment.Print - A digital photograph printed on hahnemuhle photo rag paper / edition 2 of 8 + 2 artist prints / Individual fox bones placed/layed out on a white background and arranged in an outward circular pattern. Beige/neutral in colour / Blonde timber frame. No signatures / no personal markings / no framers identified.digital print / fox / bones / pattern / photograph / laughing waters / birrarung / imam / death -
Tatura Irrigation & Wartime Camps Museum
Painting - Water Colour, Be Colechin (nee Bainbridge), Shepparton Post Office
The artist Be Colechin was born in Tatura. Not limited to just painting, Be is also a writer, music composer, playwright and has worked and acted in various reportory companies for 15 years.Timber framed watercolour painting of old Shepparton Post Officebe colechin, painting, shepparton post office -
Tatura Irrigation & Wartime Camps Museum
Painting - Water Colour, Be Colechin (nee Bainbridge), Darvenzia's "Exelsior" Winery
The artist Be Colechin was born in Tatura. Not limited to just painting, Be is also a writer, music composer, playwright and has worked and acted in various reportory companies for 15 years.Timber framed watercolour painting of Darvenzia's "Exelsior" Winerybe colechin, painting, darvenzia's "exelsior" winery, exelsior, darvenzia -
Tatura Irrigation & Wartime Camps Museum
Painting - Water Colour, Be Colechin (nee Bainbridge), Furphy's Foundry
The artist Be Colechin was born in Tatura. Not limited to just painting, Be is also a writer, music composer, playwright and has worked and acted in various reportory companies for 15 years.Timber framed watercolour painting of Furphy's Foundrybe colechin, painting, furphy's foundry, furphy and sons -
Tatura Irrigation & Wartime Camps Museum
Painting - Water Colour, Be Colechin (nee Bainbridge), Fryers Street Primary School
The artist Be Colechin was born in Tatura. Not limited to just painting, Be is also a writer, music composer, playwright and has worked and acted in various reportory companies for 15 years.Timber framed watercolour painting of Fryers Street Primary Schoolbe colechin, painting, furphy's foundry, furphy and sons -
Tatura Irrigation & Wartime Camps Museum
Photograph, POW's Timber Cutting, 1940
POW's from Graytown in work party cutting wood in Rushworth forest. Foam backed copy in file.Black and white photograph of 4 men working at a saw cutting wood. Trees in background.graytown work party, ww2 pow's -
Tatura Irrigation & Wartime Camps Museum
Photograph, Haakon Nilsen
Haakon Nilsen who operated the illegal radio in Camp 1 most nights, needed to be visible during the daytime, so worked occasionally at the milk bar, where he is pictured standing, c.2000Coloured photo of man standing inside a concrete section with timber beams behind, brown bush behind beam and trees in background.haakon nilsen, illegal radio, camp 1 milk bar -
Puffing Billy Railway
NKS Trolly Motor Transporting Box
NKS Trolley Motor Transporting Box A wooden box used for transporting the engines of the Gangers trolleys between the line in use and the Workshops at Spotswood. Engines were often changed over due to mechanical failure or being required for a service. Rather than send the complete trolley in for work, the engine was removed and transported. These boxes may have arrived at a location with an engine in it, to replace the one returning to the Workshops, cutting down the time that the trolley may have been out of use. Historic - Victorian Railways - Permanent Way and Works - track equipment - NKS Trolly Motor Transporting BoxNKS Trolly Motor Transporting Box - two boxes made of timber with wrought iron fittings puffing billy, nks trolley motor transporting box, trolly, trolley -
Wangaratta RSL Sub Branch
Shield, Dockers Plains, 1921
This Honour Shield was the work of the school Sloyd pupils and Head Teacher. The honour book written by the Head Teacher Mr Thomas Kidman contains the names of 14 past students of Docker's Plains Primary School who served during the First World War. Handwritten summary of service pertaining to each past student including Nurse Alice M BYRNE who served in Egypt and France.Honour Board in the shape of a shield and carved from timber originally made by the Sloyd students and head teacher of Docker's Plains State School in 1921. The Honour Board centrally houses a casket with glass door containing a velvet covered book containing the names of 14 past students who served during World War 1. When the school closed in the 1940's resident were invited the take items and William Richardson, brother of Private Leslie George Richardson who died in June 1916 from meningitis prior to embarkation, chose the shield and framed photograph collection which his mother contributed to. After William died in 1964 and his wife in 1977 their daughter Clarice and husband Jim Tobias took on guardianship prior to donating to the RSL in 2003.An honour board in the shape of a shield ornamental carved ornamental from wood featuring a glass faced casket mounted in the centre,Our Boys Docker's Plains Honor Bookdocker plains, ww1, docker plains state school -
Wangaratta RSL Sub Branch
Framed Tribute, Wangaratta Picture Framers, Gull Force
On the night of 30-31 January 1942 this small force of 1131 Australian soldiers were stationed at Ambon, an island which formed part of the Netherland East Indies (now Indonesia). An invasion of approximately 20,000 Japanese overwhelmed Gull Force and the majority of the Australian soldiers were taken prisoner. The execution of 229 at Laha, starvation, over work, disease and the absence of medical supplies led to horrific loss. At the cessation of hostilities only 352 of the original 1131 had made it back to Australia. 779 members of Gull Force made the supreme sacrifice and now lie in foreign fields. The Battle of Ambon (30 January – 3 February 1942) occurred on the island of Ambon in the Dutch East Indies (now Indonesia), during World War II. Japan invaded and conquered the island in a few days, facing Dutch, American and Australian forces. The chaotic and sometimes bloody fighting was followed by a series of major Japanese war crimes. Allied casualties in the battle were relatively light. However, at intervals for a fortnight after the surrender, Japanese personnel chose more than 300 Australian and Dutch prisoners of war at random and summarily executed them, at or near Laha airfield. In part, this was revenge for the sinking of the Japanese minesweeper, as some surviving crew of the minesweeper took part.. Three-quarters of the Australians captured on Ambon died before the war's end. Of the 582 who remained on Ambon, 405 died. They died of overwork, malnutrition, disease and one of the most brutal regimes among camps in which bashings were routine. Blood Oath, a 1990 Australian feature film is based on the real-life trial of Japanese soldiers for war crimes committed against Allied prisoners of war on the island of Ambon, in the Netherlands East Indies (Indonesia), such as the Laha massacre of 1942.Brown timber frame with gold coloured inner edge containing badge and tribute on grey backgroundGull Force 2/21 Battalion Ambon Laha In memory of and tribute to the Officers and Men of "Gull Force" comprising of 2/21 Battalion and attached Units.gull force, 2/21 battalion, ambon, ww2 -
University of Melbourne, Burnley Campus Archives
Work on paper (item) - Student Work, Jo Ferguson, Landscape Construction Portfolio, 2016
Submitted as an assignment in 2016 for HORT90035, a subject run at Burnley Horticultural College and coordinated by Andrew Laidlaw. andrew laidlaw, assignment, burnley horticultural college, hort90035, jo ferguson -
El Dorado Museum Association Inc.
Photograph - Digital Image
Construction of New Barge, Cocks Pioneer. Cocks Pioneer Electric Gold & Tin Mine Company was formed in 1899. The company's first power station, located at the eastern end of the valley began operating with its 340 Kilowatt steam-powered generator. By 1909, from 2,500,000 cubic yards worked, reported recovery was 17,284 ounces of gold and 224 tons of tin ore. By 1909, Cocks Pioneer’s power plant had become inadequate and uneconomical. The barge was floated downstream about a mile, but lost time caused the operations to cease. Following testing, a new mine was established by diverting Reid's Creek at a cost of £25 000. Settling dams were built, one of which held 1,935,900 cubic feet. Sold earth banks, built against a wall of stringy bark saplings constructed and laced with vertical props, were built. In 1914, the company was reformed as Cock’s Pioneer Gold and Tin Mines NL, another power station was constructed at the western end of the township, near the junction of Clear and Reid's Creeks. From 6,800,000 cubic yards of material processed, the returns were 64,397 ounces of gold and 855 ton of tin. Cocks Pioneer mine then moved the barge downs stream and continued sluicing. In 1929 Cocks Pioneer Electric Gold and Tin Mining Company ceased operations due to a drop in values. Cock’s Pioneer Gold and Tin Mines NL carried on large-scale hydraulic sluicing operations until 1941. mines, mining, gold, tin, gold mining, tin mining, sluicing, barge, construction, cocks pioneer, el dorado, eldorado -
El Dorado Museum Association Inc.
Photograph (item) - Digital Image
Cocks Pioneer old mine timbers. Cocks Pioneer Electric Gold & Tin Mine Company was formed in 1899. The company's first power station, located at the eastern end of the valley began operating with its 340 Kilowatt steam-powered generator. By 1909, from 2,500,000 cubic yards worked, reported recovery was 17,284 ounces of gold and 224 tons of tin ore. By 1909, Cocks Pioneer’s power plant had become inadequate and uneconomical. The barge was floated downstream about a mile, but lost time caused the operations to cease. Following testing, a new mine was established by diverting Reid's Creek at a cost of £25 000. Settling dams were built, one of which held 1,935,900 cubic feet. Sold earth banks, built against a wall of stringy bark saplings constructed and laced with vertical props, were built. In 1914, the company was reformed as Cock’s Pioneer Gold and Tin Mines NL, another power station was constructed at the western end of the township, near the junction of Clear and Reid's Creeks. From 6,800,000 cubic yards of material processed, the returns were 64,397 ounces of gold and 855 ton of tin. Cocks Pioneer mine then moved the barge downs stream and continued sluicing. In 1929 Cocks Pioneer Electric Gold and Tin Mining Company ceased operations due to a drop in values. Cock’s Pioneer Gold and Tin Mines NL carried on large-scale hydraulic sluicing operations until 1941. mining, gold, tin, open cut, gold mining, tin mining, cocks pioneer, el dorado, eldorado -
Stawell Historical Society Inc
Memorabilia - Realia
2 Bag or Bale Hooks with wooden handles. Inscribed Anthony_. Used to shift Jute Bags or Bales. Anthony's had a grocery Business, Timber Yard (General Merchants) in Stawell. Used by Mr Stephen Pauling who worked for Anthony's stawell -
Puffing Billy Railway
Steam Engine - Tangye Single Cylinder Horizontal
Builders Number 4767 Used for steam engine driving instruction at the Royal Melbourne Institute of Technology build date of approximately 1884 +/- 1 year. worked out from http://www.internationalsteam.co.uk/mills/burmamill22.htm Donated by The Royal Melbourne Institute of technology in 1969 Of Interest : The Vertical and Horizontal Tangye engines on display are of the design that won a Gold Medallion at the Paris Industrial Exhibition of 1878.Historic - Industrial Steam Engine EquipmentSteam Engine - Cast Iron (painted) Steel (raw) Bronze (Raw) Timber (Oiled)Tangye Birminghampuffing billy, steam, rmit, tangye, horizontal engine -
Puffing Billy Railway
TACL - Erica State Sawmill Rail Tractor, 1928
TACL-Tractor Appliance Company Limited TACL rail tractors manufactured by Malcolm Moore of Port Melbourne Located in the Parishes of Moondarra and Telbit, Gippsland, the tramway terminated at Collins Siding on the Moe Walhalla 2'6"gauge branch of the Victorian Railways. Its construction by the Forests Commission of Victoria was to facilitate the extraction of timber from the Southern and Western slopes of Mount Erica and to replace the outlet tramways destroyed during the disastrous forest fires of February 1926. Tyers Valley Tramway The line, following the Eastern arm of the river, passed Ingrams Siding (7m.) to terminate at a forest area, known as "Ten Acre Block", 8m. 60c. from Collins Siding. The western branch of the line followed the Western Tyers Valley to Growlers Creek, 13m. 40c. from Collins Siding. THE T.A.C.L. TRACTORS at Tyers Valley tramway. On the 19th January 1928, T.A.C.L. locomotive, purchased from Tractor Appliance Co. Ltd. (Malcolm Moore), was delivered. This unit had a 20 h.p. Fordson engine coupled by a chain drive to the two axles, providing a tractive effort of approx. 2000lbs. Wheelbase was 5’ and weight was four tons. It was intended that the two tractor locomotives, working with the grade, would deliver timber from the branch lines to Tyers Junction, from which place it would be steam hauled out to the Collins Siding transfer point. Following a breakdown of the steam locomotive, haulage during the early months of 1928 was carried out by the T.A.C.L. unit, supplemented by the Nattrass, which was, by this time, becoming unreliable. During April 1928, after ensuring that no suitable locomotive was available in Australia, an order was placed with the Climax Manufacturing Co., U.S.A. for the supply of a geared locomotive. A second T.A.C.L. engine was purchased during May and, on the 27th, the local mill owners, having obtained running rights on the tramway, commenced haulage with the Harman. The three tractor units worked the branch lines and transported ballast, whilst the Harman hauled the timber to Collins Siding in rakes of eight trucks (56 tons). The weekly loading of the line for the first, second and third weeks were 54, 62 and 71 trucks respectively. info from : http://www.nmra.org.au/tyersvalley/Tyers-Tram.html Historic - Industrial Narrow gauge Railway - Timber working - Rail Tractor used by the the Forests Commission of Victoria on the Tyers Valley TramwayRail Tractor with Fordson engine coupled by a chain drive to the two axles - made of steel and wrought ironerica sawmill, puffing billy, tacl, rail tractor, tractor appliance co. ltd. (malcolm moore), industrial narrow gauge railway, tyers valley tramway, forests commission of victoria -
Puffing Billy Railway
Side Tipping Timber Skip, circa 1900?
Side Tipping Timber Skip Wooden Contractors Wagon. Gauge 17 inch (430mm) Typical of the many side tipping wagons used for soil and rock disposal in construction work and mining throughout Australia and the world. The wagon would be loaded with soil and pushed along a short line to the end of track where the load would be emptied out to either side. By using a central pivot the wagon’s body can be tipped either side to allow the contents to be easily removed ready for the next load.Historic - Industrial Narrow Gauge RailwayWooden bodied, steel framed side tipping skip.puffing billy, side tipping skip, industrial narrow gauge railway -
Puffing Billy Railway
Zeehan & North East Dundas Tramway Bogie 1896, wagon bogie, 1896
Zeehan & North East Dundas Tramway Bogie 1896 The North East Dundas Tramway (NEDT) was a 2 ft (610 mm) narrow gauge tramway on West Coast Tasmania that ran between Zeehan and Deep Lead (now Williamsford). It was part of Tasmanian Government Railways. The line was opened in 1896 to carry ore from the Williamsford mines to Zeehan where it would be loaded onto another train for shipment to Burnie. The narrow-gauge (2 ft) was chosen because of the extremely difficult terrain that the railway crossed, requiring several big trestle bridges, including one at the foot of Montezuma Falls. After some rain the engine and carriages would get soaked by spray from the falls. There was a break-of-gauge with the mainline 1,067 mm (3 ft 6 in) system at Zeehan. The railway was closed in 1932. The rolling stock for the Tramway was built in the Launceston Railway workshops, and comprised twenty five eight-wheel low-side trucks, tare 3 tons 1 cwt. 1 qr., load 10 tons; six eight-wheel flat trucks, tare 2 tons 18 cwt. 1 qr., load 10 tons; two four-wheel bolster trucks, for carrying long timber, tare 1 ton 19 cwt., load 5 tons; and four passenger cars, each with six cross-seats with reversible backs, to carry eighteen passengers, also a locker for mails and parcels. All trucks and cars have cast-steel wheels 21 inches in diameter and are fitted with automatic vacuum brakes. The trucks have side levers and the cars have hand-screw brakes. The vacuum brake can be worked from the engine or from the passenger cars, which act as brake vans. When this brake was introduced, one effect was to accelerate the journey speed by about 10 minutes owing to more even running on down gradients. Historic - Industrial Narrow Gauge railway - Bogie used on the Zeehan & North East Dundas Tramway, Tasmania, Australia Bogie made from steel, iron and wrought ironZN & NTDS ML TRAM 1896 Griffinpuffing billy, bogie, zeehan & north east dundas tramway bogie, zeehan & north east dundas tramway, industrial narrow gauge railway, gauge: 2' (610 mm) -
Puffing Billy Railway
Climax - Geared Steam Locomotive No. 1694, 1928
... locomotives are known to have worked on Victorian timber tramways... locomotives are known to have worked on Victorian timber tramways ...Climax geared locomotive No. 1694 in active service on special occasions - stored at Emerald Station A Miraculous Survivor Climax locomotive No.1694 is a miraculous survivor of a rare breed of steam locomotive. For about 100 years from the mid-1850s sawn timber was carted from Victorian sawmills to the nearest railway station by timber tramway. These tramways were generally very rough, steeply graded, sharply curved, and of narrow gauge. Many had wooden rails, and horses provided haulage. The better ones used steam locomotives. In all about fifty steam locomotives are known to have worked on Victorian timber tramways. These locomotives were usually somewhat peculiar - made to cope with arduous, rough conditions, rather than speed. Climax locomotive No.1694 is the only one of these locomotives to survive intact. It was built in 1928 by the Climax Manufacturing Company, Corry, Pennsylvania, USA, for the Forests Commission of Victoria. The distinctive feature of the Climax locomotive is that the cylinders do not directly connect to the driving wheels. Instead they drive a cross shaft near the centre of the locomotive. From there the drive is transmitted to the small driving wheels through rotating shafts, universal joints, and bevel gears. The driving wheels are mounted in two four-wheel bogies so that they can easily follow sharp curves in the track. None of these features are found in normal steam locomotives. The result is a locomotive that is extremely powerful for its size, and that will cope with sharp curves and steep grades with ease. But this is at the cost of speed, Climax locomotive No.1694 is just about flat-out at 13 km/h (8 mph). Climax Locomotive Built in 1928 for the Forests Commission of Victoria and painted all-over black with the name CLIMAX painted on the sides of the cab in white block letters, this locomotive was issued to the Tyers Valley tramway which branched off the Moe to Walhalla line at Collins Siding. This locomotive was withdrawn from service in 1949 following the closure of the tramway and in 1950 it travelled from Tyers Junction to Collins Siding to Erica where it remained stored until 1965. Loaned to the Puffing Billy Preservation Society for its Steam Museum, it was taken to Menzies Creek in 1965 where it remained until 1982 when the Emerald Tourist Railway Board bought it and transferred it to Belgrave for restoration. It was returned to service for special use on the Belgrave to Gembrook line in 1988 painted in its original all-over black livery, except that the word “Climax” on the sides of the cab was now painted in the style of the Climax Manufacturing Co., a style that this locomotive had never carried.Historical - Industrial railway - Forests Commission of Victoria, Timber Logging Climax Locomotive Climax geared Steam locomotive made of steel and wrought iron Climax 1694climax locomotive works, climax, geared steam locomotive, puffing billy, climax locomotive no. 1694, steam locomotive -
Uniting Church Archives - Synod of Victoria
Photograph, Parkville Presbyterian Church, Undated
The College Church congregation initially worshipped in Ormond College in 1891. In 1895 they purchased the site of the present building. A committee set out certain specifications (including the crown tower), and a competition for the best design was won by architect RA Lawson. The building, constructed by Lang Brothers of Parkville at a cost of 2,170 pounds, was opened in 1898. College Church remained the only parish church in Parkville until 1934. The outstanding element is the crown tower, a choice of the first minister, the Reverend Alexander Yule. It is a copy, albeit on a reduced scale, of King's College Chapel, Aberdeen University, of which Reverend Yule was a former student. This crown tower is the only example in Victoria and is possibly unique in Australia. The church is constructed of red brick and Oamaru sandstone with a steeply pitched slate roof and parapeted gables. Windows are in the Gothic pointed arch style. The interior of the Church has a fine timber ceiling with arch braces. There are a number of quality stained glass windows, the two largest being dedicated to Mungo Scott and his wife, Scott having been a benefactor of the Church. The late nineteenth century pipe organ was built by George Fincham and Son (Richmond), with Professor Franklin Peterson as consultant, and was completed in November 1903. In the 1940s College Church was internally re-ordered and this work was designed by prominent church architect, Louis Williams. The church became part of the Uniting Church in Australia in 1977, and ownership subsequently passed to Mar Thoma Syrian Church in 2008. From The Argus, Friday 19 April 1907: Rev. Alexander Yule washeld in highest esteem in his ministerialbrethren and a large circle of friends was abundanrly evident by the expressions ofsorrowful regret at his death and of sympathy with his widow and her three sonsby those who attended the funeral servicesyesterday morning. To most of those present the announcement of Mr. Yule's death, made in "The Argus" on Wednesday, came as a painful surprise. It was known that at the time of his ministerial jubilee last January he shown symptoms of failing health, and that his illness had gradually become more serious, but few among the intimate friends of the family thought the end was so near. Although Mr. Yule suffered much physical weakness, his mental faculties were unimpaired, and he was able to carry on his ministerial work almost to the last. He even conducted the services at the College Church, Parkville, on Sunday, March 31. Testimony is borne that his ministry was appreciated most highly by the important congregations, both in Scotland and Victoria, under his charge; that in the church courts he was a safe and wise counsellor; and that he did excellent service on various committees, and as the convenor of the Theological-hall committee, on which he was appointed by the General Assembly. The esteem in which he was regarded by the Presbyterian Church as a whole was expressed in his election in 1891 to the Moderator's chair of the Victorian Church, and to that of the Federal Assembly in 1901. The funeral service was held at College Church, the scene of Mr. Yule's ministry since 1891. The building was filled to overflowing by a congregation that included most of the members of the metropolitan presbyteries, representatives from several of the provincial presbyterues, the students of the Theological-hall, members of the Parkville congregation, and the children of Miss Sutherland's Home. The pulpit and furniture were draped in black, and the plain oak coffin rested on the communion-table. The simple yet impressive service usual with the Presbyterian Church was conducted by Professor Rentoul, president of the Theological-hall Senatus, who was assisted by Professor Skene, Rev. W. Fraser (moderator of the Melbourne North Presbytery), Rev. D. S. McEacharn, and the Rev. John Thomson, a life-long friend of the departed minister. The Dead March in "Saul" was played on the organ as the coffin was borne to the hearse. The procession along Parkville-crescent to the cemetery gates was a notable one, and in the following order:—Theological-hall students; the hearse; the chief mourners—Dr. Yule, Rev. A. Yule, Mr. James Yule, and Mr. Groom, M.H.R., a relative of the family; the Theological-hall professors and committee; members of the presbyteries; and other friends, making a large and repre-sentative gathering. At the grave Professor Rentoul, Rev. Dr. Meiklejohn, Rev. D. Ross, and the Rev. Dr. Marshall officiated. The pall-bearers were Revs. D. S. McEachran, J. Thomson, A. McDonald, R. J. Smith,Mr. P. McLennan and Mr. L. E. Groom, M.H.R. The funeral arrangement were in the hands of Mr. Josiah Holdsworth.Portion of photocopy of the church and two of the portraits.college church, presbyterian church, yule, rev. alexander