Showing 2673 items matching "bell-cote"
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RMIT Design ArchivesDrawings, 1958
Louis Kahan (1905-2002) is best known in Australia for his skill as an artist. As Independent Fashion Curator, Laura Jocic has observed, ‘It is less known though that Kahan had a career in theatre and fashion in Vienna and Paris during the 1920s and 1930s that continued when he came to Australia in 1947. He signed his fashion illustration with the initials 'nac', a phonetic interpretation of his surname spelled backwards. In this illustration on newspaper we can see Kahan playing with the graphic effects of line and text, while communicating the cut and drape of late-1950s fashions.’ Kahn was born in Vienna in 1905 and first travelled to Australia in 1947. He moved to Melbourne in 1950 where he became friends with artist George Bell, writer Alan McCulloch who introduced him to Clem Christensen, editor of the literary journal Meanjin, where many of his portraits of Australian writers were published. His 1962 portrait of the author Patrick White won the Archibald Prize, bringing him national recognition. He also designed sets and costumes for the Elizabeth Theatre Trust (Opera Australia) and the Melbourne Theatre Company. In 1993 his contribution to Australian cultural life was recognised when he was made an Officer in the Order of Australia (AO). He died in Melbourne, at the age of 97 in 2002. Ann Carew 2018Fashion illustration on newsprint. Drawing depicts two women. Women in foreground is wearing a long green coat and hat.Woman at rear is wearing a green and white evening dress with white gloves.Signed lower right in ink, 'nac 1958'.fashion illustration, fashion design -
Queenscliffe Maritime MuseumPhotograph - Monochrome, MV Wyuna
The ship was built in 1953 by Ferguson Shipbuilders of Port Glasgow, Scotland for the Port Phillip Sea Pilots organisation as a pilot cutter. Her role as a pilot cutter was to sail with pilots on board to meet ships entering Port Phillip Bay. Pilots would be transferred by the Wyuna's workboat to the vessel requiring pilotage while it was stopped dead in the water, with shelter provided by the vessel itself. In the early 1970s the pilot service started using fast launches to allow pilots to board while ships were still underway, and in 1979 the Wyuna was sold to the Australian Maritime College in Launceston, Tasmania as a training vessel. She continued in that role until 2004 when sold to Mineralogy Pty Ltd as an accommodation vessel. In September 2013 she was donated to the Western Port Oberon Association for the Victorian Maritime Centre currently at Crib Point. For a time she was docked at Beauty Point, Tasmania, and after being refurbished for 18 months she was to be moved to Docklands in Melbourne, Victoria. After this berth became unavailable the vessel was docked at Inspection Head Wharf in Beauty Point. After a period there it was towed into Bell Bay where she lays at anchor as of January 2016. When funding becomes available the Western Port Oberon Association has plans to display the vessel in a wet berth alongside the former Royal Australian Navy Oberon-class submarine HMAS Otama.Mr Henry HudsonBlack and white photograph of the Pilot Tender MV Wyuna partially obscured by a large wave at the rip, entrance to Port Phillip Bay.mv wyuna, port phillip pilot service, the rip, the heads, queenscliff, point lonsdale -
Parks Victoria - Gabo Island LightstationInsulators
Modern communication tecnology arrived on Gabo Island with the construction of the telegraph line from Eden to Gabo Island in 1870. These and other cylindricial insulators were associated with the original 1870 copper wire telegraph line and later the P.M.G. line. The items of telegraphic equipment comprise a number of ceramic and glass insulators of varying age and type. Two bell-shaped insulators are made of clear glass, one with remains of wooden dowel inside. In addition to insulators, there is a telephone insulator bracket made of metal with wooden pins. It was once attached to the top of a steel pole and some of theseremain in situ along the former telegraph line. Telegraphic communication commenced at the Gabo Lightstation in 1870, just eight years after the lightstation opened.The line from Sydney reached Eden, NSW by 1868 and was then extended to Gabo with the costs shared equally by NSW and Victoria. It was initially carried on posts across the sea to the island but was changed to a line along the seabed after the posts were washed away. The first telegraph office was a timber building on east side of the assistants’ quarters. In 1887 a new concrete telegraph office was built which included quarters for the operator, with Victoria and NSW sharing the construction costs. The 1992 CMP identified remnants of the line from its various phases of operation,231 and these can still be seen in 2016. Other ceramic insulators in the collection are associated with lines supported on utility poles for the transmission of high voltage electricity. The various insulators have second level significance for their historic value and provenance1. Clear glass insulator. Cyndrical bottle shape with smaller dome -like knob on top. Hollow with inscription on lower edge. Has remains of wooden dowell inside. 2.Clear glass insulator. Cyndrical bottle shape with smaller dome -like knob on top. Hollow with inscription on lower edge.Around lower edge on opposite sides,"C.C / 42" -
Federation University Historical CollectionBook, Mechanics' Magazine vol. 3, 1825 (exact)
Hardcovered book, half leather bound with marbled paper. Formerly book number 4040 from the Ballaarat East Public Library. Contents include: new pit-saw, self-moving carriage (car), Lord Worcestor's steam engine, extinction of fires, Cameron's Soda Water Apparatus, Newton's Lectures on Astronomy, coining at the Royal Mint, mechanical geometry, lifting ships by steam, voltaic-mechanic agent, steam navigation, portable hand-mill, Brown's pneumatic engine, Bell's invention for saving lives from shipwreck, triple pump, cycloidal chuck, potato-washer, sand clock, Galvanic electricity, perpetual motion, Hadley's Quadrent, Wollaston's Night-Bolt, rope bridges, boring machinery, locomotive steam-engines, new London Bridge, naval architecture, steam and water wheel, Spencer's Patent Forge, boat with wings, ivory profile portraits, Jenning's Gas burner, Ramage's Telescope, washing machine, tallow lamp, iron masts, self regulating pendulum, prismatic compass, simple blowpipe. Includes image of Henry Brougham, and many drawings of inventions.non-fictioncar, newton, fire, shipwreck, bell, naval architecture, locomotive, ballaarat east public library, ballarat east public library, ballarat east library, henry brougham, potassium, meridian lines, pit saw, self moving carriage, lord worcestor, steam engine, cameron s, soda water, astronomy, royal mint, mechanical geometry, lifting ships by steam, voltaic mechanic agent, steam navigation, hand mill, brown s pneumatic engine, triple pump, cycloidal chuck, potato washer, sand clock, galvanic electricity, perpetual motion, hadley s quadrent, wollaston s night bolt, rope bridges, boring machinery, steam engines, new london bridge, steam and water wheel, spencer s patent forge, boat with wings, ivory profile portraits, jenning s gas burner, ramage s telescope, washing machine, tallow lamp, iron masts, self regulating pendulum, prismatic compass, simple blowpipe, bookplate -
Federation University Historical CollectionProgramme, Ballarat School of Mines Revue, 1961, 1961
Small soft covered booklet with black and red ink on the cover. The contents include details for the Ballarat School of Mines Revue for 1961 called 'Off the Beat'. Performers included Danny Taylor, Eric Mcgrath, David Bell, Bob Coutts, Noel Murphy, Noel Whitcher, Anne Moorhouse, Sue Mole, Noel Delosa, Jill Norton, Mary Wettenhall, Barry Lonsdale, David Kirton, Don Yates, Baldwin Eng, Suresh Chand, Teddy Gan, Francis Kwong, Daniel Yung, jenny Milbourne, Jenny trahar, Anita Bitans, Janis ermanis, Kevin Rogers, Kevin Sculley, David Kirton, Noelene Ahpee, Ruth Nelson, Gersina Prox, Peter Agrums, Sue Davies, Balswin Eng, Edward Scull, John Kavanagh, Val Baker, Sue Mole, Val Driffen, Jill Norton, Graeme Williams, Malcolm Peel, Geoffrey Simmonds, David Kirton, George Leishman, Barry Lonsdale, William Roodenburg, Ian Weir, Jack tay, W. McDonald, L. Hillman, J. McCullock, Miss Catford, Beverley Howlett, Edith Lawn, Mr Dixon, B. Nolan.ballarat school of mines, review, theatre, poster -
Bendigo Historical Society Inc.Newspaper - LYDIA CHANCELLOR COLLECTION: NEWSPAPER CUTTINGS
A large cardboard folder containing (i) newspaper cuttings from various sources. These sources are, ' Illustrated London News,' ' Herald,' ' The Mail,' ' Herald,' ' Age', ' The Sun News-Pictorial,' and ' Everybody's,' and are dated 1938-1970. (ii) A copy of the 'Bendigo Advertiser,' dated Wednesday, November 27, 1968. (iii) 2 ' Bendigo Advertiser,' supplements dated February 16, 1963 and November 27, 1968. (iv) An 8 page fascimile of 'The Age' newspaper celebrating the move of the newspaper to a new building in Spencer Street. There is also some correspondance between Lydia Chancellor and Mr. M.P.J. Hurrell the Promotions Officer at 'The Age.' (v) An article titled ' John Fairfax 1804-1877 Maker of The Sydney Morning Herald,' from 'The Home,' March 1, 1941. An article titled, ' The Day & Age of David Syme,' from 'Walkabout' February, 1963. Information re the Lutine Bell at Lloyds of London. Articles re 'THE MAIL' newspaper for Bendigo beginning in 1968. Article by Claudia Wright re jumpsuits, Champagne and toys. Article Re Baron Julius de Reuter, founder of the Reuters news service. The Crystal Palace in London.newspaper, bendigo advertiser, various articles, lydia chancellor collection, collection, newspapers, ' the age' newspaper, ephemera, ' the bendigo advertiser.' -
Moorabbin Air MuseumAccessory (Item) - Beaufighter Pilots Escape kit
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Ballarat Tramway MuseumNewspaper, State Electricity Commission of Victoria (SEC) and The Courier Ballarat, Voice of the People, Mar. 1962
Yields information about the view of The Courier, and locals about the mooted closure of the tramway system and reporting on the proposal in particular local views and the setting up of the Save the Tramway Committee.Foolscap sheet of plain paper, with rounded corners, with 5 newspaper cuttings, concerning the mooted closure of the Ballarat Tram system March 1962. All from The Courier, unless noted otherwise. 1 - Untitled report - 8/3/62 - public meeting of 200 people, representatives from a number of bodies, Chair Cr Roff and Mr Courtney - formation of the Save the Trams Committee, including advice from Geelong and City of Launceston running its own transport system. Lists the committee's name. 2 - "Inquiry Decision Likely Today" - 8/3/62 - Quotes Mr Stoneham, Opposition Leader noting recommendation of Sir John Elliot that the MMTB should control all transport in Provincial cities and that Mr Bell Junior had recommended trolley buses. 3 - "Voice of the People" - 9/3/62 - Editorial supportive of public transport, ACT and NT subsidising, united voice. 4 - "Funds Needed for Tram Fight" - 9/3/62 - Cr Roff - seeking funds, not a large amount. 5 - Set of two letters 8/3/62 - about tramway operations, economics and administration.closure, letter to the editor, editorial, sec, parliament, trolley buses -
Ballarat Tramway MuseumPhotograph - Digital image Set of 10, Tony Smith, 19/09/1971 12:00:00 AM
Yields information about Ballarat Tramways and trams prior to the closure of the tramway system.Set of 10 digital images of Ballarat trams prior to closure, scanned from original slides by Tony Smith, 1971 prior to closure of the system. This set of slides appears to be the last day of operations - 19/9/1971 .1 - Photo taken from Cooks Hotel balcony overlooking three bogie trams parked in the City Loop with Big W and Dickins store in the background. .2 - 42 in Albert St, showing destination of Sebastopol, though could be north bound near Ophir St. .3 - 42 crossing Ophir St to the north. .4 - 42 (Lydiard St Nth), 34 (Sebastopol) crossing at the Bell St loop .5 - 42, 35 and another bogie tram at ditto - note the neat line of photographers and one person (bounding) around. .6 - 34 and 35 leaving the Grey St loop southbound. .7 - 34 and 35 southbound in Albert St passing the Borough of Sebastopol Town Hall .8 - 34 nearing the Sebastopol terminus in Albert St .9 - 35 ditto .10 - 35 ditto after passing the camera looking towards the terminus.trams, tramways, sturt st, sebastopol, albert st, city loop, ophir st, bell st, grey st, borough of sebastopol, closure, tram 42, tram 34, tram 35 -
Kew Historical Society Inc
Booklet, The Galleon Press, The Pickwick Portfolio, Vol.1 No.1, 1904
Pickwick Clubs were established around the world in the nineteenth and twentieth centuries, inspired by the first novel of Charles Dickens. A Kew branch was formed in 1897 and lasted until c.1912. Its membership was drawn from a number of notable Kew families. The club published two booklets, the first in 1904 and the second in 1912. In addition to holding meetings, club members performed in productions of Shakespearian plays in the Recreation Hall in Wellington Street Kew. Members of the club adopted pseudonyms based on characters in Dickens' novels.Literary publication of of artistic (literary) significance recording the social and cultural activities of a group of residents of Kew and its environs that operated from 1897 to c.1912. Copies of volume 1 are held by the State Libraries of Queensland and New South Wales.Contents of The Pickwick Portfolio, Vol.1, No.1 - Frontispiece [Illustration] Pickwick Portfolio / Mark Tapley (Alice Bale); Foreword / Mantalini (Mr A. Barlow); D. Copperfield (Mr H. Brown); Sonnet to celebrate Pickwick Club's birthday's eight and to congratulate it on its happy fate / John Jarndyce (Mr G. Bell); A new planet / Mikawber (Mr H. Mollard); The melancholy heart / Samuel Weller (Mr P. Vines); Time / Florence Dombey (Miss C. Turner); A day in Japan / Miss Moucher (Dr G. Halley); His yellow affability / Mark Tapley (Alice Bale); A tragedy / N. Nickleby (Mrs J.T. Dill, nee Miss Pullar); Bill Sykes [Illustration] / (Micawber (Mr H. Mollard); The norseman's song / Pickwick (Rev W. Slack); The maker of the soul / Squeers (Mr N. Brown); Glory / Jingle (Mr H.M. King); My first conquest / Agnes Wickfield (Miss A. Vines); The mosquito / D. Copperfield (Mr H. Brown); The blind baggage / Mantlini (Mr A. Barlow); The Pickwick Tree [Illustration] / Mark Tapley (Alice Bale); The freedom of life / Toots (Mr W. Shum)fictionthe pickwick club - kew, literary clubs, pickwick clubs, charles dickens -
Bendigo Historical Society Inc.Document - NEW CHUM & VICTORIA LINES OF REEF - MINING MACHINERY, NEW CHUM LINE, EAGLEHAWK
Handwritten notes on mining machinery sold at auction. South St Mungo - Winding Engine. Pair of 15 ? Cyl. Winding Engines. 7 ft Winding Gear. Also, Jackass Boiler. Feed Pump, Trucks, Rails, Flat Sheets, Poppet Heads, Housing, etc. Sold for 270 pounds. Purchaser H Ralph for Austral Drill Co. Lady Barkly Company - 12-inch Cylinder Winding Engine. 8 ft Winding Gear. Cornish Flue Boiler, Feed Pump, Rails, Poppet Heads, Housing, etc. Sold for 162 pound 10 shillings. Purchaser W. J. Sever, Mining Merchants, Melb. Crushing Battery - Complete 40 Head Battery. Tandem Compound Engine. 11 in & 22 in Cylinders. High Press, Boilers, Electric Lighting Plant. 6 in Cyl. High Speed Engine, Fire-proof, Feed Pump, Rails, Flat Sheets, Tools & Sundries. 1000 pound to R. Ralph. These three mining plants, complete. Sold by Messrs. Bell, Lambert and Nixon - Auctioneers. Ref; Bendigo Advertiser. July 14th, 1910, Page 2.document, gold, new chum & victoria lines of reef, mining machinery new chum line eaglehawk, south st mungo, h ralph, austral drill co, lady barkly company, w j sever, crushing battery, messrs bell, lambert and nixon -
Wangaratta High SchoolWHS Oral History Cassette/CD, 1999
Cassette tapes and CDs with Student interviews of: Cassette: Doug James & Harry Kilminster, Una (Hoysted) Richards (1920-1926), Mrs B. Law, Mrs Audrey Hill, David Evans, Mr Herry, Andrew Blair (1969-76), Mr H. Dike, John Evans & Myra Baxter, Mrs Avis Stevens (McDonald, 1942), Mr Adrian Twitt (1960s-1990s), Dianne Copper (1957-?), Mr Vin Blatch (1938-1940), Mr W. Coleman (1928-?), Mr A. Bell (1944-?), Mrs A. Stenart (1920-1930), Tiny Kahn (Peterson, 1932-?), Mary Gregry (Spencer, 1932-1944), Mrs S. McDonald, N.G. McGuffe (1940), N. Green, Lorna Hogan (1947-1950), Mary Gregory (Spencer, 1932-1944), Mrs Stone (Robertson, 1957-1968), Leon Kildea, Frank Cunningham & Harvey Dike, M. Pullen (Nee Grossman), Mrs M. Sartome (Hemphill, 1961-1965), Barbara Laycock, Adrian Twitt, Jenine (Moore) Farett, Jack Cullen & Mae Osmotherly, Ted Brieriy & Meussa Andrew, Pual Schaes & Helen Hill, Judy Rose & Bill O'Callaghan, Lyn Barr & Murray Edgar, Robert Keene & Doug McGregor, Pam Mabin & Trent McGregor, Elaine Mudge & Anne Bell, Jack Cullen, Mr J. W. O'Calloghan, M. Paterson (Fry) 1943-1944, Mrs Elaine Graham, Rhonda Diffey & Terry Magree, Brian O'Flynn, Peggy Richie & Jenny McDonald, Mr Frank Spink (1909-1920), Mrs W. Ellis (1915-?), Brian Scamell (1961-1968), Diana Pikula (1971-1975), Brenda Barr, Joyce Lavis Sargent, Bronwnyn Strune (James), Karen & Julie Rees, Alice Wilson (Waldole), Bruce Revell, Jenny Martin & Sandra Dinsdale, Mrs Tibbals CD: Una (Hoysted) Richards (1920-1926), Mrs A Stewart (1928-1932), Mrs W Ellis (1915), Mr Frank Spink (1909-1920), Mrs Avis Stevens (McDonald, 1942), N.G. McGuffe (1940), Andrew Blair (1969-76), Mr W. Coleman (1928), Mr Vin Blatch (1938-1940) Also has a blue folder filled with conditions of use forms given to the interviewees -
Bendigo Historical Society Inc.
Document - ROYAL PRINCESS THEATRE COLLECTION: MAJORIE IN WONDERLAND, 12 Aug 1916
Royal Princess Theatre - Majorie in Wonderland. Saturday, 12 August, 1916. Price of Program, One Penny. Australian Children's Pantomime. Matinee Performance. In Aid of Fruit and Vegtable Fund For Our Soldiers in The Trenches. Produced by Miss Girlie Mackay. Children's Vocal Training by Madame Rossow. Dialogue by Miss Eileen O'Keefe. Musical Director, Mr Stanley Upton. Stage Manager, Mr J Dunphy. Lighting Effects Mr W Wenborn. Theatre kindly lent by W Crowley, Esq. Hon. Sec., Norman Howell. Prologue. The curtain rises showing the flowers asleep. The fairies, summoned by daylight, entre and sing, awakening the flowers, and leave. Then Puck entres, followed by the Blue Wrens, singing, and after them the Bunnies, who are all . . . Sale of Sweets supervised by Miss Nita Weller and Assistants. Novelties by Mrs Julius Cohn. Dresses designed and made by Mrs McQuie, Mrs Marc Cohn, Miss Lena Weller, and Miss Girlie Mackay, assisted by Mrs Balsillie, Mrs Ralph Ross. Mrs Robert Makayand the Misses Gladys McQuie, Norma Moorhead, Carola Iser, and Hilda Meurer. Program: Songs sung throught Performance. Act I. 1 Chorus-Fairy Song. 2 'Bunnies' Adventure' by the Bunnies. 3 Chorus-Holiday Song. 4 Bell Bird Duett-Jean & Jim Walker. 5 Sailor's Hornpipe-Crissie Cravino. 6 'Marjorie Sunbeam'-Myrtle Glanville. 7 'As I went o'er the Paddock'-Jean Walker. 8 Chorus'Billy Tea. 9 Song-'Possum'-Bertie Barkell. 10 'Bogie Man'-Stella Coghlan. 11 'Kookooburra'-Mel Wearne. 12 Chorus-'Winter Bells'. Act II. 1 Chorus-'Autumn Winds'. 2 'Stay Little Wave'-Jean Walker. 3 'Southern Cross'-Rose Murphy. 4 Song-'Kangaroo'-Brownies. 5 'Pixie Man'-Ruthie Murphy. 6 Chorus-'Wattle'. 7 'Grow Little Mushroom'-Stella Cook. 8 'Cooee'-Myrtle Glanville & Marie Hamilton. 9 Butterfly Dance-Sheila Shannon.10 'King Billy & Black Mary'-Ken McQuie. 11 Boomerang Song-Ken McQuie. 12 Final Chorus-'To the Fairies', 'Good Night'. God Bless Our Splendid Men. Cast of Characters:Marjorie & Jean Walker, Myrtle Glanville, Ruthie Murphy, Marie Hamilton, Thelma Thomas, Stella Coghlan, Jim Walker, Jim Long, Bertie Barkell. Fairies:-Mary Hunter, Lily Brown, Una Grelis, Biddie Bulley, Rosa Dyring, Ellie Colcough, Ida Collins. Puck:-Una Leggo. Butterfly:-Sheila Shannon. Brownies:-Tom Green, Douglas McQuie, Hunphrey, Gill, Mel Wearne, Laurence Skewes. Aboriginal:-Ken Mquie. Frog:-Sid Whitelaw. Native Bear:-Ken Moore. Blue Wrens:- Alma Jorgenson, Doris Reed, Geoff Schultz, Jean Cahill. Flowers. Orchids:- Joyce Ross, Margaret Long, Dorothy Thomas, Margaret McQuie, Mollie Roberts, Rose Murphy. Pink Gums:-Lorna Weddell, Minnie Hartley, Isola Woodward, Jean Moran, Decima Holtorf, Merle Nagel. Flannel Flowers: Gwen Hunter, Nancy Tatchell, Catherine Green, Mary Rymer, Thelma Cairns, Cecil Gleeson. Poppies:-Lorna Cattran, Alice Murphy, Maisie O'Grady, Eileen Coglan, Alma McWilliams, Jean Miller. Blue Bells:-Mavis Tozer, Vivian Reed, Monnie Fattorini, Gwennie Seely, Alice Evans, Lily O'Conner. Southern Cross:-Eileen Martin, Jean Murdoch, Effie Williams, Verna Mayne, Minnie Hartley, Mollie Martin.Cambridge Press, Print.program, theatre, royal princess theatre, royal princess theatre - majorie in wonderland. 12 august, 1916. program, one penny. australian children's pantomime. matinee performance. in aid of fruit and vegtable fund for our soldiers in the trenches. produced by miss girlie mackay. children's vocal training by madame rossow. dialogue by miss eileen o'keefe. musical director, mr stanley upton. stage manager, mr j dunphy. lighting effects mr w wenborn. theatre lent by w crowley, esq. hon. sec., norman howell. prologue. the curtain rises showing the flowers asleep. the fairies, summoned by daylight, entre and sing, awakening the flowers, and leave. then puck entres, followed by the blue. . . sale of sweets supervised by miss nita weller and assistants. novelties by mrs julius cohn. dresses designed and made by mrs mcquie, mrs marc cohn, miss lena weller, and miss girlie mackay, assisted by mrs balsillie, mrs ralph ross. mrs robert makayand the misses gladys mcquie, norma moorhead, carola iser, and hilda meurer. program: songs sung throught performance. act i. 1 chorus-fairy song. 2 'bunnies' adventure' by the bunnies. 3 chorus-holiday song. 4 bell bird duett-jean & jim walker. 5 sailor's hornpipe-crissie cravino. 6 'marjorie sunbeam'-myrtle glanville. 7 'as i went o'er the paddock'-jean walker. 8 chorus'billy tea. 9 song-'possum'-bertie barkell. 10 'bogie man'-stella coghlan. 11 'kookooburra'-mel wearne. 12 chorus-'winter bells'. act ii. 1 chorus-'autumn winds'. 2 'stay little wave'-jean walker. 3 'southern cross'-rose murphy. 4 song-'kangaroo'-brownies. 5 'pixie man'-ruthie murphy. 6 chorus-'wattle'. 7 'grow little mushroom'-stella cook. 8 'cooee'-myrtle glanville & marie hamilton. 9 butterfly dance-sheila shannon.10 'king billy & black mary'-ken mcquie. 11 boomerang song-ken mcquie. 12 final chorus-'to the fairies', 'good night'. god bless our splendid men. cast of characters:marjorie & jean walker, myrtle glanville, ruthie murphy, marie hamilton, thelma thomas, stella coghlan, jim walker, jim long, bertie barkell. fairies:-mary hunter, lily brown, una grelis, biddie bulley, rosa dyring, ellie colcough, ida collins. puck:-una leggo. butterfly:-sheila shannon. brownies:-tom green, douglas mcquie, hunphrey, gill, mel wearne, laurence skewes. aboriginal:-ken mquie. frog:-sid whitelaw. native bear:-ken moore. blue wrens:- alma jorgenson, doris reed, geoff schultz, jean cahill. flowers. orchids:- joyce ross, margaret long, dorothy thomas, margaret mcquie, mollie roberts, rose murphy. pink gums:-lorna weddell, minnie hartley, isola woodward, jean moran, decima holtorf, merle nagel. flannel flowers: gwen hunter, nancy tatchell, catherine green, mary rymer, thelma cairns, cecil gleeson. poppies:-lorna cattran, alice murphy, maisie o'grady, eileen coglan, alma mcwilliams, jean miller. blue bells:-mavis tozer, vivian reed, monnie fattorini, gwennie seely, alice evans, lily o'conner. southern cross:-eileen martin, jean murdoch, effie williams, verna mayne, minnie hartley, mollie martin. -
Peterborough History GroupPlaque - Fred Moore Trophy
Fred Moore was a long time holiday maker with a house in Robertson St, whose children continue to visit. This event is played on the long weekend in January and is very popular as non handicapped players can play. Draw for partners, no handicaps required, and it is a 12 hole event. It is the only time the practice tee is used in an official event, it is used as the first tee and the first becomes the 10th. Winners: 1961 F Calvert T Austin 1962 H McCulloch M Howard 1963 F Calvert T Austin, 1964 J Moore J Irvine, 1965 O Horn W Sinclair, 1966 B Nash H Lucas, 1967 P Nash T Austin, 1968 M Moore J Wilson, 1969 J Chirnside J Wilson, 1970 J Gray P Clark, 1971 D Irvine L Hobson, 1972 K Morrison B cook, 1973 G. Paton T Austin, 1974 K Harris DW Rogers, 1975 J Neville DW Rogers, 1976 F Calvert JS Irvine, 1977 S Clark TL Austin, 1978 J McNabb JS Irvine, 1979 S Cole DW Rogers 1890 J. Dowse, M Howard, 1981 N Kirby A Calvert, 1982 D Irvine J Swinnerton, 1983 N Wallace G Smith, 1984 J Armstrong J Mckenzie, 1985 J Howard L King, 1986 J Howard L king, 1987 H McCulloch P Sloan, 1988 W Mactier JS Irvine, 1989 D Irvine J McNab, 1990 D Smith D Whitehead, 1991 V Ryan F Carlin, 1992 V Hocking K Carroll, 1993 L Bourke C Campbell, 1994 M Scouller DH Bradshaw, 1995 R Whitehead M R Beer, 1996 Deb Calvert B Dumesny, 1997 F Beggs MR Beer, 1998 K Derham- Moore J McNab, 1999 A Deppeler G Smith 2000 V Beer T Pekin, 2001 J Hansson DH Bradshaw, 2002 SABeer CW Richmond, 2003 A Christian M Fisher, 2004 M Hesketh M Fisher, 2005 C Bell G Smith, 2006 T Smith P Watson, 2007 K Burl MBeer, 2008 J Manderson M Beer, 2009 A Gilson L Beer, 2010 L Hills B Dumesny, 2011 M Campbell D Dumesny, 2012 V Beer Dumesny, 2013 J Barrett M Bowden, 2014 C Cass G McGorlick, 2015 M McGorlick W Couch, 2016 C Leishman M Fisher 2017 C Bell D Laherty, 2018 J Barrett W Couch, 2019 J Muhor B Dumesny, 2020 M Hammond T Irvine, 2021 K Matheson H PetersSignificant because Fred Moore was a member and great supporter of the Golf Club. That weekend, the Australia Day long weekend, ia always a family weekend - the sandcastle competition is held, the tennis tournament is held, the cricket match against Timboon (played at Port Campbell) is played. This Canadian foursomes golf event is also held on this sporting weekend and is a very popular and social event. Two rectangular wooden honour boards, situated adjacent to each other, wih goldleaf namesList of winners of the Fred Moore Trophypeterborough, peterborough golf club, fred moore trophy, sporting honour boards, golf tournament -
Halls Gap & Grampians Historical SocietyPhotograph - B/W, C 1931
A major rebuilding project took place. Brothers John & Thomas Morgan with local storekeeper Harold Goodwin Taylor designing and building a grand new Guest House with 22 bedrooms plus the original bungalows. Unheard of at the time the guests bedrooms had hand basins with hot & cold running water. This was achieved by building a weir on Stony Creek and piping the water to a high holding tank at the guest house. The dining room was a grand affair, a 4.5 metre high ceiling with beautiful gold leaf cornices, art deco ceiling and wall lights with feature plaster lights in the form of blue bells, wall to wall carpet and Kentia palms completed the picture. Ladies & gentlemen dressed for dinner, the ladies resplendent in their long evening gowns and jewellery would come down the stairway from the entrance hall to the lounge then the dining room. The tables were beautifully appointed with damask table cloths & fine silverware. The kitchen was well appointed with a huge coal fired range and a donkey for hot water. Milk & cream, bacon & pork, chicken & eggs together with vegetables were all home grown on the property. A large ballroom with a beautiful timber floor was the scene after dinner for many dances and party nights with guests from other establishments and locals joining in for the night. A huge fernery was also a feature of the gardens. During the day tennis parties would be held on the courts, together with horse riding and guided walks were taken out by local guide Gilbert Rogers.Photo of newly built Grampian Houseaccommodation, guesthouses, accommodation, grampian house -
Eltham District Historical Society IncPhotograph, Liz Pidgeon, Moor-Rul Viewing Platform Panel: Lest We Forget, 10 August 2016
Includes photograph of WW1 local enlistment John Bell. The Moor-Rul Viewing Platform, part of the Kangaroo Ground War Memorial Park opened in April 2007. Eight double-sided interpretation panels on the Moor-rul viewing platform highlight the area's Aboriginal and European history of the area and also details of local geology, flora and fauna. These panels feature high quality graphic design and professionally written text. The subjects covered are: ''Womin Je Ka" Welcome The Kulin Nation Singing, Dancing, Ceremony, Celebration This Country, My Home The Highland Taken Auld Lang Syne "Same Land Different Views" Working the Land Food from the Earth or "Earth's Harvest" Lest We Forget, "And with the going down of the Sun .... (3 panels) This Black Earth Those other indigenous inhabitants - Kangaroo Ground's Wildlife Silent Witnesses - Kangaroo Ground's White Manna Gums Belonging A Place of Reverence and A Tower of Strength Souce: EDHS Newsletter No 173 March 2007. As part of a program to acknowledge the Anzac Centenary Nillumbik Shire Council partnered with Yarra Plenty Regional Library to provide a bus tour with commentary of local sites of significance: Shire of Nillumbik World War One Memorials tour, 10 August 2016. These included Eltham township, the Shire of Eltham War Memorial at Kangaroo Ground, Christmas Hills war memorial, Hurstbridge memorial recreation park and finshed at Eltham Library to view the Writing the War exhibtion at Eltham Library Community Gallery.Born Digitalworld war 1, war memorials, shire of nillumbik, moor-rul viewing platform, interpretation panel, interpretative signage, lest we forget, shire of eltham war memorial, john bell, display panel -
Deaf Children AustraliaCALAID H - Hearing Aid, National Acoustic Laboratories, Estimated date: late 70s early 80s
The first commercial digital hearing aid was created in 1987 by the Nicolet Corporation. The hearing aid contained a body-worn processor that had a hardwire connection with an ear mounted transducer. While the Nicolet Corporation’s hearing aid was not publicly successful and the company shortly folded, it was able to start a competition between companies to create more effective hearing aids. Two years later, in 1989, the behind-the-ear (BTE) digital hearing aid was launched. In addition to the Nicolet Corporation, Bell Laboratories expanded upon the hearing aid business by developing a hybrid digital-analog hearing aid. When the hearing aid was put on in the market, it was instantaneously successful. This development helped bring major changes to the world of the hearing aid. The next major milestone was creating an all-digital hearing aid. The Oticon Company developed the first digital hearing aid in 1995, but it was only distributed to audiological research centers for research on digital technology in the realm of acoustic amplification. The Senso was the first commercially successful, all-digital hearing aid, and was created by Widex in 1996. After the success of the Senso, Oticon began marketing their own hearing aid, the DigiFocus. Presently, the digital hearing aid is now become programmable. By making the hearing aid programmable, it has allowed hearing aids to be capable of regulating sound on their own, without using a separate control. The hearing aid can now adjust itself depending on what environment it is in and often does not even need a physical volume control button. These were the first behind the ear hearing aids manufactured by the National Acoustic Laboraties (NAL) in Australia Body worn hearing aid consisting of separate pieces, one for each ear with attached ear mould, for one ear, in original box. Provided and manufactured by the NAL (National Acoustic Laboratories), part of the Commonwealth Department of Health. "NAL" in centre of stylised map of Australia. "COMMONWEALTH/DEPARTMENT OF HEALTH" on inside of box. "IV" and "F.McD/RIGHT" manually etched on hearing aid. "II" manually etched on other hearing aid. "CAL AID H" inscribed on inside edge of hearing aid. -
Deaf Children AustraliaBosch - Hearing Aid, Robert Bosch GmbH, Estimated date: early 1970s
The first commercial digital hearing aid was created in 1987 by the Nicolet Corporation. The hearing aid contained a body-worn processor that had a hardwire connection with an ear mounted transducer. While the Nicolet Corporation’s hearing aid was not publicly successful and the company shortly folded, it was able to start a competition between companies to create more effective hearing aids. Two years later, in 1989, the behind-the-ear (BTE) digital hearing aid was launched. In addition to the Nicolet Corporation, Bell Laboratories expanded upon the hearing aid business by developing a hybrid digital-analog hearing aid. When the hearing aid was put on in the market, it was instantaneously successful. This development helped bring major changes to the world of the hearing aid. The next major milestone was creating an all-digital hearing aid. The Oticon Company developed the first digital hearing aid in 1995, but it was only distributed to audiological research centers for research on digital technology in the realm of acoustic amplification. The Senso was the first commercially successful, all-digital hearing aid, and was created by Widex in 1996. After the success of the Senso, Oticon began marketing their own hearing aid, the DigiFocus. Presently, the digital hearing aid is now become programmable. By making the hearing aid programmable, it has allowed hearing aids to be capable of regulating sound on their own, without using a separate control. The hearing aid can now adjust itself depending on what environment it is in and often does not even need a physical volume control button. Single Behind-the-ear hearing aid with ear mould. "BOSCH/GERMANY" on the side bottom of aid, "7327476" on face, "46AYG-D" on inside edge -
Deaf Children AustraliaHearing aid
The first commercial digital hearing aid was created in 1987 by the Nicolet Corporation. The hearing aid contained a body-worn processor that had a hardwire connection with an ear mounted transducer. While the Nicolet Corporation’s hearing aid was not publicly successful and the company shortly folded, it was able to start a competition between companies to create more effective hearing aids. Two years later, in 1989, the behind-the-ear (BTE) digital hearing aid was launched. In addition to the Nicolet Corporation, Bell Laboratories expanded upon the hearing aid business by developing a hybrid digital-analog hearing aid. When the hearing aid was put on in the market, it was instantaneously successful. This development helped bring major changes to the world of the hearing aid. The next major milestone was creating an all-digital hearing aid. The Oticon Company developed the first digital hearing aid in 1995, but it was only distributed to audiological research centers for research on digital technology in the realm of acoustic amplification. The Senso was the first commercially successful, all-digital hearing aid, and was created by Widex in 1996. After the success of the Senso, Oticon began marketing their own hearing aid, the DigiFocus. Presently, the digital hearing aid is now become programmable. By making the hearing aid programmable, it has allowed hearing aids to be capable of regulating sound on their own, without using a separate control. The hearing aid can now adjust itself depending on what environment it is in and often does not even need a physical volume control button.These were the first behind the ear hearing aids manufactured by the National Acoustic Laboraties (NAL) in Australia Single behind-the-ear hearing aid. -
Deaf Children AustraliaCalaid Hearing Aid, National Acoustic Laboratories, 1960's
The first commercial digital hearing aid was created in 1987 by the Nicolet Corporation. The hearing aid contained a body-worn processor that had a hardwire connection with an ear mounted transducer. While the Nicolet Corporation’s hearing aid was not publicly successful and the company shortly folded, it was able to start a competition between companies to create more effective hearing aids. Two years later, in 1989, the behind-the-ear (BTE) digital hearing aid was launched. In addition to the Nicolet Corporation, Bell Laboratories expanded upon the hearing aid business by developing a hybrid digital-analog hearing aid. When the hearing aid was put on in the market, it was instantaneously successful. This development helped bring major changes to the world of the hearing aid. The next major milestone was creating an all-digital hearing aid. The Oticon Company developed the first digital hearing aid in 1995, but it was only distributed to audiological research centers for research on digital technology in the realm of acoustic amplification. The Senso was the first commercially successful, all-digital hearing aid, and was created by Widex in 1996. After the success of the Senso, Oticon began marketing their own hearing aid, the DigiFocus. Presently, the digital hearing aid is now become programmable. By making the hearing aid programmable, it has allowed hearing aids to be capable of regulating sound on their own, without using a separate control. The hearing aid can now adjust itself depending on what environment it is in and often does not even need a physical volume control button. Silver metal case with side clips and hearing aid attached. Has battery compartment for AA batteries. Volume control is the top left hand corner. "C OF A/CALAID/36778" on back of case deaf children australia, hearing aid, calaid -
Deaf Children AustraliaCalaid Hearing Aid, National Acoustic Laboratories, 1960s
The first commercial digital hearing aid was created in 1987 by the Nicolet Corporation. The hearing aid contained a body-worn processor that had a hardwire connection with an ear mounted transducer. While the Nicolet Corporation’s hearing aid was not publicly successful and the company shortly folded, it was able to start a competition between companies to create more effective hearing aids. Two years later, in 1989, the behind-the-ear (BTE) digital hearing aid was launched. In addition to the Nicolet Corporation, Bell Laboratories expanded upon the hearing aid business by developing a hybrid digital-analog hearing aid. When the hearing aid was put on in the market, it was instantaneously successful. This development helped bring major changes to the world of the hearing aid. The next major milestone was creating an all-digital hearing aid. The Oticon Company developed the first digital hearing aid in 1995, but it was only distributed to audiological research centers for research on digital technology in the realm of acoustic amplification. The Senso was the first commercially successful, all-digital hearing aid, and was created by Widex in 1996. After the success of the Senso, Oticon began marketing their own hearing aid, the DigiFocus. Presently, the digital hearing aid is now become programmable. By making the hearing aid programmable, it has allowed hearing aids to be capable of regulating sound on their own, without using a separate control. The hearing aid can now adjust itself depending on what environment it is in and often does not even need a physical volume control button. Silver metal case with side clips and hearing aid attached. Has battery compartment for AA batteries. Volume control is the top left hand corner. Comes with its black case "C OF A/CALAID/101862" on back of case. "ANGUS & COOTE/Acoustics/HEARING AIDS" on inside cover of case -
Deaf Children AustraliaCalaid Hearing Aid, National Acoustic Laboratories, 1955-mid 1970's
The first commercial digital hearing aid was created in 1987 by the Nicolet Corporation. The hearing aid contained a body-worn processor that had a hardwire connection with an ear mounted transducer. While the Nicolet Corporation’s hearing aid was not publicly successful and the company shortly folded, it was able to start a competition between companies to create more effective hearing aids. Two years later, in 1989, the behind-the-ear (BTE) digital hearing aid was launched. In addition to the Nicolet Corporation, Bell Laboratories expanded upon the hearing aid business by developing a hybrid digital-analog hearing aid. When the hearing aid was put on in the market, it was instantaneously successful. This development helped bring major changes to the world of the hearing aid. The next major milestone was creating an all-digital hearing aid. The Oticon Company developed the first digital hearing aid in 1995, but it was only distributed to audiological research centers for research on digital technology in the realm of acoustic amplification. The Senso was the first commercially successful, all-digital hearing aid, and was created by Widex in 1996. After the success of the Senso, Oticon began marketing their own hearing aid, the DigiFocus. Presently, the digital hearing aid is now become programmable. By making the hearing aid programmable, it has allowed hearing aids to be capable of regulating sound on their own, without using a separate control. The hearing aid can now adjust itself depending on what environment it is in and often does not even need a physical volume control button. Square, silver metal hearing aid with electronics and AA battery compartments. Has an ear piece and ear mould attached by wire, with a volume adjustment. A body level type, probably a CALAID T manufacture from 1955 to the 70's. On front "C OF A/CALAID/108499" deaf children australia, hearing aid, calaid, commonwealth of australia -
Kew Historical Society IncProgramme, Kew Arts Festival Committee, Kew Arts Festival, 1945
The Herald on 10 August described the Festival offerings as: "Varied 10-Day Programme For Kew Arts Festival Opened last night, the Kew Arts Festival in the Recreation Hall, Wellington Street, provides an interesting and varied programme for the next 10 days. Today at 8.15 p.m. Mr George Bell and Mr Colin Badger will have a public discussion on "What Is Modern Art?" The Vice-chancellor of the Melbourne University of Melbourne (Mr JDG Medley) will preside. Tomorrow at 10.30 a.m. Junior students of the Methodist Ladies College, directed by Dorothy Dwyer. will show how they learn to speak and move on the stage, and will present three short plays. Tomorrow night Elise Steele and Violet Ewart (violin and piano) Beryl Batten (songs) and Edith Parnell (accompanist) will give a concert. Paintings and other works of art will be on show from 2.30 to 5.30 p.m. on Sunday. On Monday night. Mr Colin Badger will speak on "Dead Wood and Green Shoot: Australian Literature Today" and on Tuesday night there will be "Ballet in Story and Action"— the story told by Norman Macgeorge, with Joan Burnett as ballerina and Fred Manners-Sutton at the piano. Wednesday night will have an illustrated lecture "Contemporary Art Education." by John Bechervaise. Remaining nights will be taken up with a performance of Somerset Maugham's "The Circle" presented by the Little Theatre, a youth concert, and another concert with songs and piano. On Saturday morning, August 18, there will be a special concert for young people. The festival will end on Sunday week with a chamber music programme in the afternoon."Important local arts festival initiated during the Second World War and continuing till the early 1950s. The souvenir programmes produced for successive festivals are historically and artistically significant records of visual and performing arts practice in Melbourne during this period.11 page souvenir program for the Kew Arts Festival, held in the Recreation Hall, Wellington Street, Kew from the 9th to the 19th August 1945. The content of the program can be viewed through the image carousel.kew arts festival - 1945, visual arts - kew (vic), performing arts - kew (vic) -
Kew Historical Society IncAward, Kew Fire Brigade / Best Average Time, 16 points / U.F.B.D. Sandhurst, 1886
1879 - The Argus, Friday 11 July 1879, page 4. The Kew Borough Council having decided to initiate a fire brigade, invited volunteers to send in their names. About 40 complied with the invitation and met at the Town-hall to choose 12 of their number to form the brigade. The 12 elected then chose their officers as follows :— Councillor Gray, captain ; Mr. Thomas Greenhill, foreman ; and Mr. H. Loxton, secretary. The brigade decided to apply to the council for uniforms and a bell; and after adopting rules for their guidance the meeting separated. The brigade now possesses a reel and 500ft. of hose, and a shed is being erected in Little Walpole-street for a station. The council have applied for six additional fireplugs in the Main-road, so that the brigade may now be considered fairly established. 1886 - Globe (Sydney), Tuesday 16 March 1886, page 8 The Kew Fire Brigade, which obtained the pride of place at the recent fire brigades' demonstration, at Sandhurst, was met on their return at Spencer-street Railway Station by the Mayor and Councillors of that suburb, and were subsequently entertained at the Greyhound Hotel. 1886 - South Bourke and Mornington Journal, Wednesday 17 March 1886, page 2 It may be, deemed remarkable, but nevertheless a fact, 'that the Kew Fire Brigade, comparatively a new one, has gained premier place at the recent contest of brigades held at Ballarat, winning two first prizes and two second. On returning they were met at the station and escorted to Kew, preceded by the Borough banner. Certificate awarded to the Kew Volunteer Fire Brigade as an award for winning 'the best average time' in competition at Sandhurst. Surrounding the team's photo are a series of individual oval named portraits of the team. This framed version of the certificate, (there are two in the collection) is less faded than the framed version.The photograph without the mount (2016.0097a) has been digitally enhanced. Inscription: "Kew Fire Brigade U.F.B.D. Sandhurst. Kew 1886: Best Average Time, 16 points"kew volunteer fire brigade -
Kew Historical Society IncAward, Kew Fire Brigade: Best Average Time, 16 points, U.F.B.D. Sandhurst, 1886
1879 - The Argus, Friday 11 July 1879, page 4. The Kew Borough Council having decided to initiate a fire brigade, invited volunteers to send in their names. About 40 complied with the invitation and met at the Town-hall to choose 12 of their number to form the brigade. The 12 elected then chose their officers as follows :— Councillor Gray, captain ; Mr. Thomas Greenhill, foreman ; and Mr. H. Loxton, secretary. The brigade decided to apply to the council for uniforms and a bell; and after adopting rules for their guidance the meeting separated. The brigade now possesses a reel and 500ft. of hose, and a shed is being erected in Little Walpole-street for a station. The council have applied for six additional fireplugs in the Main-road, so that the brigade may now be considered fairly established. 1886 - Globe (Sydney), Tuesday 16 March 1886, page 8 The Kew Fire Brigade, which obtained the pride of place at the recent fire brigades' demonstration, at Sandhurst, was met on their return at Spencer-street Railway Station by the Mayor and Councillors of that suburb, and were subsequently entertained at the Greyhound Hotel. 1886 - South Bourke and Mornington Journal, Wednesday 17 March 1886, page 2 It may be, deemed remarkable, but nevertheless a fact, 'that the Kew Fire Brigade, comparatively a new one, has gained premier place at the recent contest of brigades held at Ballarat, winning two first prizes and two second. On returning they were met at the station and escorted to Kew, preceded by the Borough banner. Certificate awarded to the Kew Volunteer Fire Brigade as an award for winning 'the best average time' in competition at Sandhurst. Surrounding the team's photo are a series of individual oval named portraits of the team. This version of the certificate, (there is two in the collection) is unframed and has a badly torn mount. It is also more faded than the framed version.The photograph without the mount (2016.0097a) has been digitally enhanced. Inscription: "Kew Fire Brigade U.F.B.D. Sandhurst. Kew 1886: Best Average Time, 16 points"kew volunteer fire brigade -
Federation University Art CollectionPainting - Oil on paper, William Frater, 'Nude' by William Frater, 1932
William FRATER (1890-1974) Born 31 January 1890 at Ochiltree Castle, near Linlithgow, Scotland Arrived Melbourne, Australia in September 1910 In a lecture on modern art in 1925, Frater stated the basic position from which the rest of his oeuvre stems: 'Copying nature is not an art; … to copy effects of light tends to destroy form and colour'. Frater gave aggressive leadership to the small group of modernists in the 1920s. His example, teaching, lecturing and crusty style of polemic did much to disrupt the academic style as the arbiter of pictorial values and to pioneer a change of taste in the community.His approach in the 1930s was markedly indebted to Cézanne, especially in the portraits which predominated until his retirement from stained-glass designing in 1940. (L. J. Course, 'Frater, William (1890–1974)', Australian Dictionary of Biography, National Centre of Biography, Australian National University, http://adb.anu.edu.au/biography/frater-william-6239/text10739, published first in hard copy 1981, accessed online 3 May 2016.) Jock Frater was on of the first modern painters who opposed the fashionable and academic schools of painting. During the 1930s he exhibited with the Contemporary Art Group along with Arnold Shore and George Bell. During a very conservative period in Australian Art John Frater advanced the cause of innovation and modernism. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Framed seated nude study in oil on paper. Lower centre in pencil "W. Frater". In lighter pencil "painted 1932"art, artwork, frater, william frater, life drawing, nude, oil on paper, portrait, jock frater, william jock frater, available -
Flagstaff Hill Maritime Museum and VillageEquipment - Pattern, Briggs Brass Foundry, Early 20th century
The wooden pattern is part of a set that are stored in a strong wooden crate. It was used at Briggs’ Brass Foundry for making sand casts. The traditional craft of sand casting is over 2000 years old. The handcrafted process produces brass and copper alloy goods that are well suited to marine use; bells, boat hooks, cowls, propellers, handles, lids, rowlocks, hooks, letters, bolts, rail holders, brackets, deck plates, flanges, rudder guides, portholes and covers. Briggs’ Bronze mixture is a copper-based alloy made from local ingots of copper, tin, zinc and lead in carefully measured quantities. The finished product is non-ferrous and can last indefinitely. The crate of patterns was donated by the Briggs family in the early years of Flagstaff Hill, along with other related items such as brassware, tools and machinery. The donated items were displayed in a simulated Brass Foundry in the Village along with other working crafts, trades and services found in a Maritime town. The items were on show from the completion of the building in 1986 until 1994 when the building was repurposed. The patterns represent the trades of foundering and metalwork, both supporting maritime industries such as shipwrights and boatbuilders. Farmers, manufacturers and other local industries also needed the castings made by foundries. The Brass Foundry included a historic Cornish chimney set up as a working model, to tell the story of smelted metal heated in furnaces then be poured into the sand moulds. This chimney was made from specially curved bricks and is now about two-thirds of its full height when originally located at the Grassmere Cheese factory. The craft of sand-casting from carved wooden patterns to create metal is an example of skills from the past that are still used today. The foundry pattern set is significant for its association with brass foundries locally and generally in coastal areas of Victoria. Marine industries such as ship and boat building rely on good quality castings for their machinery, equipment and fittings. Briggs Brass was especially formulated using non-ferrous metals to ensure their longevity. The patterns are associated with the long-running firm Briggs Brass Foundry that specialised in cast goods for the marine industry, ready to supply the needs for once-off or mass-produced items. Their products would have been fitted to sail and steam vessels along coastal Victoria including Warrnambool. Briggs Marine was also a bell-founder specialist and is also associated with the Schomberg Bell at Flagstaff Hill, having restored it to is former state as a fine example of the bell from a luxury migrant vessel from the mid-19th century. Pattern; rectangular wooden block made from laminated sections of wood painted black. A half-cylinder shape was carved into the long side, and a dowel shape was placed at the lower side. The pattern is part of a set of foundry patterns from Briggs Brass Foundry.flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, briggs' bronze, traditional method, trade, sand cast, cast, brass alloy, copper alloy, pattern, mould, foundry, brass foundry, metal foundry, casting, sand mould, sand casting, marine equipment, marine tools, marine fittings, copper tin zinc lead, non-ferrous, non-corrosive, brassware, metalware, foundering, metalwork, maritime, bell founders, ship chandlers, marine products, biggs, briggs family, herbert harrison briggs, h h briggs, george edward briggs, cyril falkiner mckinnon briggs, cyril briggs, briggs & son brass foundry, h h briggs & sons foundry, briggs marine, alliance casting & engineering solutions, grassmere cheese factory, cornish chimney, curved bricks, collingwood, moorabbin, collingwood foundry, moorabbin foundry, 1912 -
Flagstaff Hill Maritime Museum and VillageEquipment - Pattern, Briggs Brass Foundry, Early 20th century
The wooden pattern is part of a set that are stored in a strong wooden crate. It was used at Briggs’ Brass Foundry for making sand casts. The traditional craft of sand casting is over 2000 years old. The handcrafted process produces brass and copper alloy goods that are well suited to marine use; bells, boat hooks, cowls, propellers, handles, lids, rowlocks, hooks, letters, bolts, rail holders, brackets, deck plates, flanges, rudder guides, portholes and covers. Briggs’ Bronze mixture is a copper-based alloy made from local ingots of copper, tin, zinc and lead in carefully measured quantities. The finished product is non-ferrous and can last indefinitely. The crate of patterns was donated by the Briggs family in the early years of Flagstaff Hill, along with other related items such as brassware, tools and machinery. The donated items were displayed in a simulated Brass Foundry in the Village along with other working crafts, trades and services found in a Maritime town. The items were on show from the completion of the building in 1986 until 1994 when the building was repurposed. The patterns represent the trades of foundering and metalwork, both supporting maritime industries such as shipwrights and boatbuilders. Farmers, manufacturers and other local industries also needed the castings made by foundries. The Brass Foundry included a historic Cornish chimney set up as a working model, to tell the story of smelted metal heated in furnaces then be poured into the sand moulds. This chimney was made from specially curved bricks and is now about two-thirds of its full height when originally located at the Grassmere Cheese factory. The craft of sand-casting from carved wooden patterns to create metal is an example of skills from the past that are still used today. The foundry pattern set is significant for its association with brass foundries locally and generally in coastal areas of Victoria. Marine industries such as ship and boat building rely on good quality castings for their machinery, equipment and fittings. Briggs Brass was especially formulated using non-ferrous metals to ensure their longevity. The patterns are associated with the long-running firm Briggs Brass Foundry that specialised in cast goods for the marine industry, ready to supply the needs for once-off or mass-produced items. Their products would have been fitted to sail and steam vessels along coastal Victoria including Warrnambool. Briggs Marine was also a bell-founder specialist and is also associated with the Schomberg Bell at Flagstaff Hill, having restored it to is former state as a fine example of the bell from a luxury migrant vessel from the mid-19th century. Pattern; pair of U-shaped carved blocks, unpainted. The blocks have opposing metal pins and holes to hold them together. One block has a disc shape carved into the base. The pattern is part of a set of foundry patterns from Briggs Brass Foundry.flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, briggs' bronze, traditional method, trade, sand cast, cast, brass alloy, copper alloy, pattern, mould, foundry, brass foundry, metal foundry, casting, sand mould, sand casting, marine equipment, marine tools, marine fittings, copper tin zinc lead, non-ferrous, non-corrosive, brassware, metalware, foundering, metalwork, maritime, bell founders, ship chandlers, marine products, biggs, briggs family, herbert harrison briggs, h h briggs, george edward briggs, cyril falkiner mckinnon briggs, cyril briggs, briggs & son brass foundry, h h briggs & sons foundry, briggs marine, alliance casting & engineering solutions, grassmere cheese factory, cornish chimney, curved bricks, collingwood, moorabbin, collingwood foundry, moorabbin foundry, 1912 -
Flagstaff Hill Maritime Museum and VillageEquipment - Pattern, Briggs Brass Foundry, Early 20th century
The wooden pattern is part of a set that are stored in a strong wooden crate. It was used at Briggs’ Brass Foundry for making sand casts. The traditional craft of sand casting is over 2000 years old. The handcrafted process produces brass and copper alloy goods that are well suited to marine use; bells, boat hooks, cowls, propellers, handles, lids, rowlocks, hooks, letters, bolts, rail holders, brackets, deck plates, flanges, rudder guides, portholes and covers. Briggs’ Bronze mixture is a copper-based alloy made from local ingots of copper, tin, zinc and lead in carefully measured quantities. The finished product is non-ferrous and can last indefinitely. The crate of patterns was donated by the Briggs family in the early years of Flagstaff Hill, along with other related items such as brassware, tools and machinery. The donated items were displayed in a simulated Brass Foundry in the Village along with other working crafts, trades and services found in a Maritime town. The items were on show from the completion of the building in 1986 until 1994 when the building was repurposed. The patterns represent the trades of foundering and metalwork, both supporting maritime industries such as shipwrights and boatbuilders. Farmers, manufacturers and other local industries also needed the castings made by foundries. The Brass Foundry included a historic Cornish chimney set up as a working model, to tell the story of smelted metal heated in furnaces then be poured into the sand moulds. This chimney was made from specially curved bricks and is now about two-thirds of its full height when originally located at the Grassmere Cheese factory. The craft of sand-casting from carved wooden patterns to create metal is an example of skills from the past that are still used today. The foundry pattern set is significant for its association with brass foundries locally and generally in coastal areas of Victoria. Marine industries such as ship and boat building rely on good quality castings for their machinery, equipment and fittings. Briggs Brass was especially formulated using non-ferrous metals to ensure their longevity. The patterns are associated with the long-running firm Briggs Brass Foundry that specialised in cast goods for the marine industry, ready to supply the needs for once-off or mass-produced items. Their products would have been fitted to sail and steam vessels along coastal Victoria including Warrnambool. Briggs Marine was also a bell-founder specialist and is also associated with the Schomberg Bell at Flagstaff Hill, having restored it to is former state as a fine example of the bell from a luxury migrant vessel from the mid-19th century.Pattern; hexagonal wooden shape painted orange. The thick carved wooden shape is in halves forming a hole when locked together with the dowel pegs and opposing drilled holes. The pattern is part of a set of foundry patterns from Briggs Brass Foundry.flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, briggs' bronze, traditional method, trade, sand cast, cast, brass alloy, copper alloy, pattern, mould, foundry, brass foundry, metal foundry, casting, sand mould, sand casting, marine equipment, marine tools, marine fittings, copper tin zinc lead, non-ferrous, non-corrosive, brassware, metalware, foundering, metalwork, maritime, bell founders, ship chandlers, marine products, biggs, briggs family, herbert harrison briggs, h h briggs, george edward briggs, cyril falkiner mckinnon briggs, cyril briggs, briggs & son brass foundry, h h briggs & sons foundry, briggs marine, alliance casting & engineering solutions, grassmere cheese factory, cornish chimney, curved bricks, collingwood, moorabbin, collingwood foundry, moorabbin foundry, 1912 -
Flagstaff Hill Maritime Museum and VillageEquipment - Pattern, Briggs Brass Foundry, Early 20th century
The wooden pattern is part of a set that are stored in a strong wooden crate. It was used at Briggs’ Brass Foundry for making sand casts. The traditional craft of sand casting is over 2000 years old. The handcrafted process produces brass and copper alloy goods that are well suited to marine use; bells, boat hooks, cowls, propellers, handles, lids, rowlocks, hooks, letters, bolts, rail holders, brackets, deck plates, flanges, rudder guides, portholes and covers. Briggs’ Bronze mixture is a copper-based alloy made from local ingots of copper, tin, zinc and lead in carefully measured quantities. The finished product is non-ferrous and can last indefinitely. The crate of patterns was donated by the Briggs family in the early years of Flagstaff Hill, along with other related items such as brassware, tools and machinery. The donated items were displayed in a simulated Brass Foundry in the Village along with other working crafts, trades and services found in a Maritime town. The items were on show from the completion of the building in 1986 until 1994 when the building was repurposed. The patterns represent the trades of foundering and metalwork, both supporting maritime industries such as shipwrights and boatbuilders. Farmers, manufacturers and other local industries also needed the castings made by foundries. The Brass Foundry included a historic Cornish chimney set up as a working model, to tell the story of smelted metal heated in furnaces then be poured into the sand moulds. This chimney was made from specially curved bricks and is now about two-thirds of its full height when originally located at the Grassmere Cheese factory. The craft of sand-casting from carved wooden patterns to create metal is an example of skills from the past that are still used today. The foundry pattern set is significant for its association with brass foundries locally and generally in coastal areas of Victoria. Marine industries such as ship and boat building rely on good quality castings for their machinery, equipment and fittings. Briggs Brass was especially formulated using non-ferrous metals to ensure their longevity. The patterns are associated with the long-running firm Briggs Brass Foundry that specialised in cast goods for the marine industry, ready to supply the needs for once-off or mass-produced items. Their products would have been fitted to sail and steam vessels along coastal Victoria including Warrnambool. Briggs Marine was also a bell-founder specialist and is also associated with the Schomberg Bell at Flagstaff Hill, having restored it to is former state as a fine example of the bell from a luxury migrant vessel from the mid-19th century. Pattern; round wooden shape with a wide concave centre and a round flat handle in the middle, painted dark brown. The underside has a large wooden disc added to the centre. The pattern is part of a set of foundry patterns from Briggs Brass Foundry.flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, briggs' bronze, traditional method, trade, sand cast, cast, brass alloy, copper alloy, pattern, mould, foundry, brass foundry, metal foundry, casting, sand mould, sand casting, marine equipment, marine tools, marine fittings, copper tin zinc lead, non-ferrous, non-corrosive, brassware, metalware, foundering, metalwork, maritime, bell founders, ship chandlers, marine products, biggs, briggs family, herbert harrison briggs, h h briggs, george edward briggs, cyril falkiner mckinnon briggs, cyril briggs, briggs & son brass foundry, h h briggs & sons foundry, briggs marine, alliance casting & engineering solutions, grassmere cheese factory, cornish chimney, curved bricks, collingwood, moorabbin, collingwood foundry, moorabbin foundry, 1912
