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Flagstaff Hill Maritime Museum and Village
Domestic object - Soap dish lid, First half of the 20th century
This object and the complete set of five items is believed to have been made in or around the Staffordshire area in the United Kingdom. Over 1500 pottery firms have operated in Stoke-on-Trent since the early 1700's - Some lasted only a few years and some for well over 200 years. Some potters built and owned their own works. Many others were tenants in works built by others and a succession of potters occupied the same works. It was also a common practice for a works to be split between two different pottery companies or for a larger manufacturer to let out a smaller section of his works to a potter who would make wares which were not of interest to the pot works owner. Some potters purchased 'blanks' from other manufacturers and put their own decoration on them some items have two back stamps some have no marks at all. This adds to the confusion and frustration of trying to trace details of a particular manufacturer such as the subject item.The subject item at this time cannot be associated with an historical event, person or place, provenance regards manufacturer is unknown, item assessed as a collection asset as it is believed to have been produced before 1950.Soap dish cream ironstone with brown flower spray decorations & part of 4 piece set. (ewer, bowl, soap dish, vase)Noneflagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, porcelain container, toilet container, beauty container, ceramic, decorative object, pottery object, brush vase, bowl, ewer, pottery, soap dish lid -
Flagstaff Hill Maritime Museum and Village
Domestic object - Soap dish base, First half of the 20th century
This object and the complete set of five items is believed to have been made in or around the Staffordshire area in the United Kingdom. Over 1500 pottery firms have operated in Stoke-on-Trent since the early 1700's - Some lasted only a few years and some for well over 200 years. Some potters built and owned their own works. Many others were tenants in works built by others and a succession of potters occupied the same works. It was also a common practice for a works to be split between two different pottery companies or for a larger manufacturer to let out a smaller section of his works to a potter who would make wares which were not of interest to the pot works owner. Some potters purchased 'blanks' from other manufacturers and put their own decoration on them some items have two back stamps some have no marks at all. This adds to the confusion and frustration of trying to trace details of a particular manufacturer such as the subject item.The subject item at this time cannot be associated with an historical event, person or place, provenance regards manufacturer is unknown, item assessed as a collection asset as it is believed to have been produced before 1950.Soap dish base cream ironstone & part of 4 piece set. (ewer, bowl, soap dish lid, vase)Noneflagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, porcelain container, toilet container, beauty container, ceramic, decorative object, pottery object, brush vase, bowl, ewer, pottery, soap dish lid, soap dish base -
Flagstaff Hill Maritime Museum and Village
Tool - Wooden Screw Clamp, Late 19th to early 20th century
A clamp is a fastening device used to hold or secure objects tightly together to prevent movement or separation through the application of inward pressure. In the United Kingdom the term cramp is often used instead when the tool is for temporary use for positioning components during construction and woodworking; thus a G cramp or a sash clamp but a wheel, screw or surgical clamp. There are many types of clamps available for many different purposes. Some are temporary, as used to position components while fixing them together, others are intended to be permanent. In the field of animal husbandry, using a clamp to attach an animal to a stationary object is known as "rounded clamping." A physical clamp of this type is also used to refer to an obscure investment banking term, "fund clamps." Anything that acts to hold two surfaces together may be called a clamp, so this gives rise to a wide variety of terms across many fields. The subject item is a wooden-handled screw clamp used in cabinet or woodworking projects to hold two surfaces together while glueing or fixing. An item that has not changed in shape or use since its inception hundreds of years ago. These types of clamps are still produced today in many sizes by many woodworking tool companies.Wooden hand Screw Clamp two lengths of wood each beveled at one end and standing parallel. Two long wooden screws with handles and predominant thread that fits through wood lengths.Noneflagstaff hill, warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, wooden screw clamp, carpenters tools, cabinet makers tools, clamp -
City of Ballarat
Public Artwork, Victor Greenhalgh, Edward Gough Whitlam (Prime Ministers' Walk) by Victor Greenhalgh, c1965
Edward Gough Whitlam, became Australia’s 21st Prime Minister on 5 December 1972. Whitlam’s term abruptly ended when his government was dismissed by the Governor-General on 11 November 1975. The Prime Ministers Avenue is a collection of bronze bust portraits of the Prime Ministers of Australia, located at the Ballarat Botanical Gardens in Ballarat, Victoria. The Prime Ministers' portraits are commissioned after the incumbent term of each Prime Minister by the City of Ballarat. The City of Ballarat has taken responsibility for commissioning the busts after funds set aside by politician Richard Armstrong Crouch were exhausted in 2014. Crouch originally donate money to pay for six busts, the first of which was unveiled in 1940. The collection of prime ministers' busts are unique in Australia, representing the only sculptural portrait collection of all past Australian Prime Ministers. The different styles used reflect the unique artistic practices of the selected artists; textures, sizes and features and proportions are used by the artists to interpret the characteristics of each of the subjects.The artwork is of historic and aesthetic significance to the people of BallaratBronze bust cast on granite plinthEdward Gough Whitlam Prime Minister 5 December 1972 - 11 November 1975prime minister -
City of Ballarat
Public Artwork, John McEwen Prime Ministers Walk, 1968
John McEwen, Australia's 18th Prime Minister (following the sudden death of Harold Holt) served 23 days as Prime Minister 19 December 1967 to 10 January 1968. The Prime Ministers Avenue is a collection of bronze bust portraits of the Prime Ministers of Australia, located at the Ballarat Botanical Gardens in Ballarat, Victoria. The Prime Ministers' portraits are commissioned after the incumbent term of each Prime Minister by the City of Ballarat. The City of Ballarat has taken responsibility for commissioning the busts after funds set aside by politician Richard Armstrong Crouch were exhausted in 2014. Crouch originally donate money to pay for six busts, the first of which was unveiled in 1940. The collection of prime ministers' busts are unique in Australia, representing the only sculptural portrait collection of all past Australian Prime Ministers. The different styles used reflect the unique artistic practices of the selected artists; textures, sizes and features and proportions are used by the artists to interpret the characteristics of each of the subjects.The artwork is of historic and aesthetic significance to the people of BallaratBronze bust cast on granite and concrete plinth.John McEwen Prime Minister 19 December 1967 to 10 January 1968 prime minister, australian pm -
City of Ballarat
Artwork, other - Public Artwork, Wallace Anderson, Edmund Barton (Prime Ministers' Walk) by Wallace Anderson, c1940
Edmund 'Toby' Barton, Australian politician and judge, served as the first Prime Minister of Australia after the Commonwealth of Australia was proclaimed on 1 January 1901, in office from 1901 to 1903. The Prime Ministers Avenue is a collection of bronze bust portraits of the Prime Ministers of Australia, located at the Ballarat Botanical Gardens in Ballarat, Victoria. The Prime Ministers' portraits are commissioned after the incumbent term of each Prime Minister by the City of Ballarat. The City of Ballarat has taken responsibility for commissioning the busts after funds set aside by politician Richard Armstrong Crouch were exhausted in 2014. Crouch originally donate money to pay for six busts, the first of which was unveiled in 1940. The collection of prime ministers' busts are unique in Australia, representing the only sculptural portrait collection of all past Australian Prime Ministers. The different styles used reflect the unique artistic practices of the selected artists; textures, sizes and features and proportions are used by the artists to interpret the characteristics of each of the subjects.The artwork is of historic and aesthetic significance to the people of BallaratBronze bust cast on granite plinth Edmund Barton Prime Minister 1901-03 first prime minister, australian prime minister -
Ballarat Heritage Services
Photograph - Photograph - Black and White, Ballarat Celebrations 1937, 1937
Bank on the north west corner of Sturt and Lydiard Streets. I suspect that these are photographs before the celebrations for the coronation. See The Argus 13 May 1937 "Celebrations in Many Country Towns" Ballarat Celebrations BALLARAT Wednesday - Special Coronation celebrations were largely attended In the morning there was a service In Christ Church, at which representatlves of the council and other public bodies were present There was a similar gathering in St Andrew's Kirk At a civic service in the Alfred Hall in the afternoon the address was given by the Bishop of Ballarat (the Right Rev W Johnson). Bishop Johnson spoke of the personal association of King George V with his people, and said that the present King and Queen would be equally concerned with the welfare of their subjects The Revs H A Horsfall and B E Williams co-operated In the service, which was presided over by the Mayor (Councillor J Pryor) Mr Lloyd Lindsay recited Mase?Coronation ode and Miss W Ritchie sang "Land of Hope and Glory ' At night a Coronation concert was held in the Alfred HallSmall black and white photographB 249 on versomax walters, ballarat, 1937, celebrations, bank, sturt street, lydiard street, anniversary -
Kyneton RSL Sub Branch
Framed certificate, Sailors, Soldiers and Airmen Fathers Association of Vic, 17 July 1944
Sailors, Soldiers & Airmens Fathers Association of Vic Charter for the formation of a new Branch 17/7/44. Sailors, Soldiers & Airmen’s Fathers’ Association of Vic. Charter for the Formation of a New Branch To all to whom these presents shall come the Sailors, Soldiers and Airmen’s Fathers’ sends Greeting. Whereas an application in writing has been made to the State Council of the Association by ten or more members thereof for a Charter to form a branch of the Association which the said State Council has agreed to grant. Now Know Ye that the said applicants are herby authorised and empowered to form a new Branch of the Sailors, Soldiers and Airmans Fathers Association at Kyneton to be called and known by the title of the Kyneton Branch in accordance with and subject in all things and at all times to the Constitution and rules for the time being of the Association. Given under our hands this 17th day of July 1944. By order of the State Council Minute no. 11 of 7/44 of 13 June 1944 Signed by the Vice President and the State SecretaryFramed original certificate. Water stained left side.Charter for the Formation of a New Branch.ww2 -
Melbourne Legacy
Card - Document, Order your Christmas Cards from Legacy 1961, 1961
Legacy raised funds from the sale of Christmas cards for many years. In 1961 the cards were: Captain Sturt's voyage down the Murray, 1829, by William Rowell (price was for up to 25 at 2/- each, 26 to 50 1/9 each, 51 to 200 1/6 each.) The Return from Egypt, by Judith Perrey (1/3 each) Happy Landing (1/3 each) The Wise Men (10d each) The Landing of Captain Cook at Botany Bay, by Phillips Fox (1/- each) Swanston St, Melbourne 1961, by Henry Burn (1/3 each) Yuletide Visit (1/- each) To the South there is a Great Land by Zoffany, 1771 (6d. each) Christmas Joybells (9d. each) The Star of Bethlehem (woodcut) by Ruth Barker (1/-) The subject of some of the cards might seem dated, especially those featuring the colonisation of Australia by the British. The order form and cards were part of a scrapbook of Legacy material, mostly promotional material, from the 1960s to 1990s.An example of fundraising material issued by Legacy in 1961.Order form for Legacy Christmas Cards in 1961 and a sample copy of cards.fundraising, christmas cards -
Merri-bek City Council
Acrylic on cotton, Turbo, 2013
Turbo is a portrait of beloved local artist Trevor ‘Turbo’ Brown by Brunswick-based artist Amaya Iturri. Brown was a Latje Latje artist known for his bright paintings of dogs, birds and other Australian animals. Iturri worked with Brown in 2013 for the One of a Kind mural commission, supported by Merri-bek City Council, which can still be seen at Sparta Place, Brunswick. The two artists complement each other’s work, as they both use bright, figurative methods of painting to explore their subject matter. Iturri uses vivid blocks of colour to bring together a candid image of Brown drinking a coffee, which he often carried when out and about in Brunswick. The flecks of colour in the portrait blurs what is light and shade, and what is paint on Brown’s hands and face. True to Iturri’s painting practice, this portrait depicts Trevor ‘Turbo’ Brown as a local icon inseparable from his artworks – the perfect meeting place between life and art. -
Villa Alba Museum
Photograph - Main Bedroom Fireplace, Villa Alba, c.1882
The Villa Alba Museum is cultural institution committed to the collection, study and display of 19th century interior decorative finishes, and the components of 19th and 20th century interior decoration. Most rooms in this historically and aesthetically significant house have stone (typically marble) fireplaces that are inset with plain and decorative tiles produced by the company of Mintons Ltd.Born digital photograph of the fireplace in the main bedroom of Villa Alba. The original 1880s white marble mantel surround has a raised iron and brass cast iron grate with hearth and side tiles by Mintons Ltd. The marble fire surround has being carved in a conventional style and lacks the opulence of what was at the time described as the grandest bedroom in the Colony, whereas the raised grate features decorative brass sun symbols and scrolling on the iron panels. The 'grey monochrome' surround tiles, of which there are eight in situ were produced to design by John Moyr Smith by Mintons Ltd as part of the 'Waverley' series (No, 1607) of which there were twelve subjects (Mintons Catalogue, p. 62/206). The selection conforms to William Greenlaw's desire to symbolically represent Scottish themes in the decoration of the house. It also relates to the mural in the dining room architrave of scenes from the novels of Sir Walter Scott. The three rows of hearth tiles employ a repeated geometric pattern.fireplaces, mintons, mintons - tiles, villa alba - main bedroom -
Kew Historical Society Inc
Plan, Studley Park Estate, 1910
Prue Sanderson, in her groundbreaking ‘City of Kew Urban Conservation Study : Volume 2 - Development History’ (1988), summarised the periods of urban development and subdivisions of land in Kew. The periods that she identified included 1845-1880, 1880-1893, 1893-1921, 1921-1933, 1933-1943, and Post-War Development. These periods were selected as they represented periods of rapid growth or decline in urban development. An obvious starting point for Sanderson’s groupings involved population growth and the associated economic cycles. These cycles also highlighted urban expansion onto land that was predominantly rural, although in other cases it represented the decline and breakup of large estates. A number of the plans in the Kew Historical Society’s collection can also be found in other collections, such as those of the State Library of Victoria and the Boroondara Library Service. A number are however unique to the collection.The Kew Historical Society collection includes almost 100 subdivision plans pertaining to suburbs of the City of Melbourne. Most of these are of Kew, Kew East or Studley Park, although a smaller number are plans of Camberwell, Deepdene, Balwyn and Hawthorn. It is believed that the majority of the plans were gifted to the Society by persons connected with the real estate firm - J. R. Mathers and McMillan, 136 Cotham Road, Kew. The Plans in the collection are rarely in pristine form, being working plans on which the agent would write notes and record lots sold and the prices of these. The subdivision plans are historically significant examples of the growth of urban Melbourne from the beginning of the 20th Century up until the 1980s. A number of the plans are double-sided and often include a photograph on the reverse. A number of the latter are by noted photographers such as J.E. Barnes.Coloured lithograph of a subdivision plan of the Studley Park Estate, bordered by Yarra, Willsmere Road and the Outer Circle Railway line. The estate was listed in 1910 and was the subject of a planning dispute between the developer and the Town of Kew in relation to flood levels and the suitability of the land for housing. In many cases the names of streets were subsequently changed. The layout was also affected by the creation of the Eastern Freeway. A newspaper report of the day described the subdivision as a: "GOLDEN OPPORTUNITY. We are pleased to submit for PRIVATE SALE that magnificent ESTATE, situated only 4 1/2 miles from the Melbourne General Post Office, STUDLEY PARK ESTATE. KF/NV. Doubtless the CHEAPEST LAND EVER OFFERED having extensive frontages to the prettiest spot on the River Yarra and the National Park, commanding lovely river and landscape views, and acknowledged to be the finest land available so close to the city. The PRICES ARE EXTREMELY MODERATE; The TERMS ARE SIMPLY MARVELLOUS. NO DEPOSIT. NO DEPOSIT. NO DEPOSIT. Allotments and prices to suit everyone."subdivision plans - kew, studley park estate -
Federation University Art Collection
Work on paper - Artwork - Printmaking, ‘Memories of My Garden’ by Andrew Sibley, 1993, 1993 (2013)
Andrew SIBLEY ( 9 July 1933-3 September 2015) Born London Since the 1960s Andrew Sibley consistently exhibited throughout Australia and Internationally. He was senior lecturer of painting at RMIT from 1967-1987 and senior lecturer of painting at Monash University from 1990-1999. Four hand coloured linocuts by Andrew Sibley framed in two frames. .1) ‘Memories of My Garden’ Hand Coloured Linocut Plate 21.6 x 13.7cm Paper 38.5 x 28.5cm 1993 (2013) Edition: 100 .2)‘Roses with Love’ * Hand Coloured Linocut Plate 21.3 x 13.4cm Paper 38.5 x 28.5cm 1993 (2013) Edition: 100 .3) ‘Flowers Embraced’ Hand Coloured Linocut Plate 20.5 x 12.8cm Paper 38.5 x 28.5cm 1993 (2013) Edition: 100 .4) ‘Red Roses’ * Hand Coloured Linocut Paper 21.3 x 13.4cm Paper 38.5 x 28.5cm 1993 (2013) Edition: 100 The four linocuts are the subject of the Private Press book: ‘Four Linocuts by Andrew Sibley’ written by Robert C. Littlewood, The Lytlewode Press, Chateau Bosgouet, Normandie, France, 2014. Donated through the Australian Government Cultural Gifts Programme by Katherine N. Littlewood, 2014artwork, artist, sibley, andrew sibley, churchill, printmaking, gippsland campus -
Marysville & District Historical Society
Booklet - Paperback booklet, The Big Culvert, 1992
A history of the Big Culvert in the Cumberland Reserve and its link to the Yarra Track.Paperback. Front cover has an old photograph of the big culvert.non-fictionA history of the Big Culvert in the Cumberland Reserve and its link to the Yarra Track.big culvert, cumberland reserve, yarra track, victoria, history -
Ringwood and District Historical Society
Document, Certificate of Title - Edward Thomas Miles, Gentleman, "Woorara", Ringwood - part of Crown Section 20, Parish of Warrandyte, County of Evelyn - 1913
A4 copies of damaged Landata Victoria Historical Search documents - Vol 3726 Fol 200 - incomplete proprietor and transfer details.Edward Thomas Miles is now the proprietor of an Estate in Fee-simple subject to the Encumbrances notified hereunder ... 27 acres 19 perches or thereabouts, together with a right of carriage way over roads coloured brown. Subdivision map includes un-named roads - western side is Wonga Road (later Warranwood Road), and eastern side is Grandview Grove (later Bemboka Road), both north of Plymouth Road, Ringwood, Vic. Transfers include (illegible) Dobbs, November, 1927 - 5 acres Harry Temple Marshall, 1st December, 1928 - 10ac 3r David Edward Meyland, 4th October, 194-? (illegible). -
Flagstaff Hill Maritime Museum and Village
Painting - Oil painting, W. Langley-Taylor, Cape Schank [Schanck], Late 19th to early 20th century
This painting is one of a pair of large paintings by W. Langley-Taylor in our collection. Currently, no further information has been found about the artist but research is ongoing. The subjects of these paintings are seascapes of notable areas of the coast on each side of Port Phillip Bay, south of Melbourne, Victoria. The subject of this painting is Cape Schanck, Victoria, which is on the east side of Port Phillip Bay. It includes the Cape Schanck Lighthouse and its Flagstaff. The Cape Schanck Lighthouse was built in 1859 and is the second of Victoria’s coastal lights. It is 21 metres tall and made from limestone. Unusually, its stairway is made from stone rather than wrought iron. Gilded tours are available to explain its use and significance to visitors. The lighthouse keepers at Cape Schanck kept records of the ships that sailed past them along Bass Strait; ship’s names, direction, time and date and so on. The details would also be passed on to shipping agencies, Harbour Masters and newspapers, which published Arrivals and Departures into and out of shipping ports such as Port Phillip Bay and the Port of Melbourne. INSCRIPTIONS “Mrs M Irby” (and on the Eagle Rock, Warrnambool, painting “980/Regency”) The inscription “Mrs M Irby” is on the back of both paintings but the significance of the inscription has not yet been discovered. Perhaps she was connected with the ship or shipping company “Irby”. A ship named “Irby”, built in Merseyside, Liverpool in 1881 by R & J Evans, Birkenhead. It was a four-masted iron ship built for the White Star Line. Henry Wilson Hewitt bought her in 1882, then later she was owned by Chadwick & Pritchard. In 1888 she was registered under the Irby Ship Co. Ltd. (trading as J. Joyce) in Liverpool. In 1912 Galgate Co. Ltd owned her. She traded between London, England and Australia, and is recorded as being in Melbourne and Hobart. In 1919 the Irby was destroyed by a mine when on her way to England. Or perhaps her name and the inscription in pencil “980/Regency” on the Eagle Rock Warrnambool, painting could be a delivery address for the paintings, perhaps an apartment in a hotel. NOTE: The artist’s spelling of the title “Cape Schank, Vic.” is incorrect. The location in this painting is named Cape Schanck. This painting is significant geographically for its representation of the coastal scenery of Victoria, Australia. It is also significant as one of a pair of paintings of seascape, one at sites each side of Port Phillip Bay. The painting is significant historically as an example of late 19th and early 20th methods and materials used to construct a painting’s frame. Painting oil on board in a dark wooden frame, portrait orientation. Seascape of coast with cliffs, lighthouse and flagstaff, flying birds, high waves breaking onto rocks, blue sky with clouds. The title is painted on lower left corner and the Victorian artist, W. Langley-Taylor, has signed his name on lower right. The inscription on back is handwritten script in red crayon or thick red pencil. The board is held in place inside the timber frame with small, dark metal tacks around all sides. Metal eyes join the wire to the frame. Small round, dark metal nail heads are dispersed around the frame and there is a change of colour on both the board and the wood of the frame. Painted on front “W.LANGLEY-TAYLOR.” and “CAPE SCHANK, VIC.” [NOTE: correct spelling is Schanck] Handwritten on back “Mrs. M. Irby” flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, painting, oil painting, cape schanck painting, w. langley-taylor, wall decoration, seascape of victoria's coast, art, mrs m irby, victoria's coast, pair of paintings -
Orbost & District Historical Society
flag, 1960/1970's
This flag was used by St Joseph's School, Orbost at assemblies. St Joseph's Catholic School in Orbost was planned from 1913 when the town's population was increasing rapidly. It wasn't until 1923 that the school was built in Raymond Street next to St Colman's Church. Fifty-five students were initially enrolled and taught in two rooms. When the numbers increased to 170 work began on extensions which were completed in 1959. St Joseph's school had classes to Form 4 at one stage. Later on Form 2 was the highest level. However, after Nagle College at Bairnsdale built a new school on the Lindenow Road site, a Nagle College school bus ran from Orbost and the school was reduced to Grade 6. It was also about this time that the last of the St Joseph teaching nuns left Orbost. From 1969 to the early 1980s the secondary St Joseph students attended Orbost High School for the practical subjects of Woodwork and Home Economics. Today enrolments reflect the declining population of the district. This item is an example of an item used in an Orbost school in the second half of 20th century.A cloth Australian National Flag which has a blue background. The Union Jack is in the upper left corner. Below the Union Jack is a white Commonwealth Star. The Southern Cross is shown on the right hand side of the flag in white. There is a white rope and two metal clips inserted into the left hand pocket/seam.Inside a diamond is N.V. BRAND. Geo. PICKERS Co. P/L CANVASflag-australian st-joseph's-school-orbost heraldry -
Flagstaff Hill Maritime Museum and Village
Domestic object - Washboard, 1900-1920s
The Mother Hubbard Roller Washboard was the hottest selling door-to-door item in America in the early 1900s. Its patented design featured threaded maple rollers that rolled in opposite directions. The touch could be light because the screw threads did all the work. It carried the Good Housekeeping Seal of Approval. The first roller washboard was made in Dover Illinois by the Hubbard brothers who ran their large sawmill there in the town where they were born. As the sales began coming in, they moved their plant in 1904 to LaMoille for better shipping facilities. In 1916 the sawmill was moved to Mendota Ill. and in addition to the washboards, the plant specialized in sawing walnut logs and forming them into roughs for gun stocks. All during the 1920s, the Mother Hubbard Washboard factory was a busy place. The boards were not made after 1935 once the electric washing machine became popular. This washboard appears to be a variation on the Hubbard system to get around their patented protection for washboards with rollers, the rollers appear to be made from maple indicating an American Manufacturer. The manufacturer of the subject item is unclear at this time.An unusual washboard with horizontal flutes designed to circumvent the Hubbard Brothers patent for washboards with rollers and vertical flutes. It makes the item rare and possibly made in Australia early 1900s and gives insight into how various companies tried to improve or get around other manufactures patented designs.Wooden washboard with rotating fluted rollers rectangular in shape and has 2 legsNoneflagstaff hill, warrnambool, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, washing equipment, washboard, hubbard brothers, domestic laundry -
Port of Echuca
Audio - Oral History - Jenny Watson, Oral History of Captain Jenny Watson recorded 2023, 2023
Jenny Watson is a long-time employee of the Port of Echuca known for her extensive knowledge of the Murray River and associated stories of past and present. Born in Rhodesia, Jenny escaped internal conflict and came to Australia at 19 years old. A great horsewoman and also a natural on vessels, when she came to Echuca in the 1980s, she soon trained for her Masters Certificate with the encouragement of skippers such as Kevin Hutchinson and Alan Bartch. She skippered the P.S. Canberra and P.S. Emmylou for many years. Jenny worked at the Tourism Centre before the Discovery Centre was built. Her knowledge helped her become an integral Tour Guide at the Port of Echuca and her sensitivity to the unseen world, led her to develop the special Port After Dark Tour revealing some of the spirits and energy that runs unseen through the Port from past events. This remains a very popular tour with visitors and locals. Jenny currently comes in as a specialist volunteer talking to visitors about every subject to do with Port. Jenny is a living legend. Jenny features in the Women of the River Exhibit in the Discovery Centre.Digital recording of oral history interview with Jenny Watson riverboat captain in the 1980s. discovery centre, tour guide, port after dark, captains, murray river captains, women of the river, p.s. canberra, p.s. emmylou, 1980s -
Flagstaff Hill Maritime Museum and Village
Tool - Complex Moulding Plane, Joseph Gleave & Sons, Late 19th to Early 20th Century
Joseph Gleave & Sons was working as a plane maker in Manchester from 1832 and was at Oldham Street from 1854 to 1868 and (as Joseph Gleave & Son) from 1868 to 1913. The company made complex wood planes of which the subject item is an early example. The company sold tools from other makers as well and was based in Oldham Street Manchester. Since that time the company has adapted and mutated and is still buying and selling tools and industrial supplies to this day. However the company stopped making complex wood planes in 1926. A vintage tool made by a known maker, this item was made commercially for firms and individuals that worked in wood and needed a tool that could produce an ornamental finish to timber. The tool was used before routers and spindle moulders came into general use after World War ll, a time when to produce a decorative moulding for a piece of furniture, door trims, etc. or other items had to be accomplished using hand tools and in particular one of these types of planes. These profiled planes came in various shapes and sizes to achieve a decorative finish.A significant tool from the late 19th to early 20th century that today is quite rare and sought after by collectors. It gives us a snapshot of how furniture and other decorative finishes were created on timber by the use of hand tools. Tools that were themselves handmade shows the craftsmanship used during this time not only to make a tool such as the subject item but also the craftsmanship needed to produce a decorative finish that was needed to be made for any decorative timber item.Complex Moulding Plane, Torus Bead. Stamped J. Gleave (Maker), No 7 & T. Moody (owner)flagstaff hill, warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, josphe, joseph gleave & sons, complex plane makers, carpenders tools, woodworking tool -
Flagstaff Hill Maritime Museum and Village
Tool - Sash Window Template, Late 19th to first quarter of the 20th century
A window sash is a type of moveable window frame that can slide, usually vertically. Unlike a window frame built into the wall, a sash allows glass window panes to slide up and down. The sashes fit inside a track that runs along another window frame attached to the house. Lead weights traditionally counterbalanced sashes, but today they are counterbalanced by springs. The traditional sash window is double-hung; this means it has two sashes that can both slide along a vertical track. However, some sash windows have a single moveable sash, and sashes may slide horizontally. A sash usually contains panels of glass, called lights. The lights are traditionally held together by a grid of bars. The sash window was developed in 17th century England and allowed for greater airflow. The sash window has had a significant impact on western architecture, used in nearly every style of English domestic architecture since the late 17th century. The subject item is a template used by the carpenter to mark or scribe the vertical track in which to window will slide up and down.An item used when sash windows were made by hand from the 17th to the early 20th century. The template allowed the carpenter to mark accurately a channel that was then planed and the Mitre to join the bars.Wooden Ovalo sash template with two screws each side. It has slot along length and has 45 degree bevelled edge each end.Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, wooden ovalo sash template, ovalo sash template, template, sash template, sash templet, window sash, tool -
Flagstaff Hill Maritime Museum and Village
Ceramic - Container, Registration No indicate item was made between 1911-1912in the Stoke on Trent area of the UK
A mass produced utilitarian item believed to have been made for domestic use in the Stoke-on-Trent area of England, no history or manufacturing provenance currently available makers mark unable to be identified at this time. Over 1500 pottery firms have operated in Stoke-on-Trent since the early 1700's - Some lasted only a few years and some for well over 200 years. Some potters built and owned their own works. Many others were tenants in works built by others and a succession of potters occupied the same works. It was also a common practice for a works to be split between two different pottery companies or for a larger manufacturer to let out a smaller section of his works to a potter who would make wares which were not of interest to the pot works owner. Some potters purchased 'blanks' from other manufacturers and put their own decoration on them some items have two back stamps. All this adds to the confusion and frustration of trying to trace details of a particular manufacturer such as the subject item.Item at this time cannot be associated with an historical event, person or place, provenance is undetermined, item assessed as a collection asset given it was produced before 1950.Toilet article container base, porcelain with blue decoration on white backgroundRd No 58105 (year 1911) Orchid W.& W. on baseflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, toilet container base, toilet article, grooming article -
Glen Eira Historical Society
Plan - Pritchard Steam Power Company
This file contains one item: 1/A draft of a plan for a museum exhibit from the Spirit of Enquiry Workbook, by Denis Shephard, and dated 07/08/2007, pertaining to alternative energy research within the suburbs of Melbourne between 1950 and 1980. Much of the content is irrelevant to Glen Eira. However; one of the two principle subjects of the exhibit, discussed between pages 20 and 28, is the work of Ted Pritchard, who was based out of Caulfield. Ted and his father, Arnold Pritchard, aspired to reinvent the steam engine for use within the contemporary era. To that end, they fitted a Chevrolet pickup truck with one of their prototypes – with the result being one of the main items constituting the exhibit. Ted’s interest in steam power had been spurred by a working tabletop model of a steam engine that Arnold built for him – which constitutes another of the exhibit’s items. Also included is a brief history of the development of Caulfield. The plan is embellished with numerous images, with relevant ones including maps of Caulfield and black-and-white photographs of the Pritchards’ truck, model and workshop.engines, engineering, engineers, inventions, inventors, steam engines, steam power vehicles, pritchard ted, pritchard arnold, pritchard steam power company, caulfield, shephard denis, pritchard mrs., trucks, pritchard edward, holland grove, balaclava road, workshops, grants, pritchard automotive steam designs, caulfield racecourse, caulfield technical school, caulfield trades school, caulfield technical college, chisholm institute, camden town, southdown knitting company, home street, fl hutchison, fowler street, vale knitting mills, nepean road, winterfold spinning mills, acme knitting mills, glen eira road, mj ryan knitwear, leather industry, lane joseph, hotham street, casey william, glen huntly road, pickering william, paris leather manufactory, woorayl street, tv tatchell, premier wire works, webb street, chesterfield ha, manufacturing industry, victory milk plant, bl coram & sons -
Flagstaff Hill Maritime Museum and Village
Functional object - Marine Lamp, R C Murray & Co Ltd, 1900 -1930
The item is a kerosene marine ships lamp used onboard ships and smaller vessels for general lighting and navigation the subject lamp was made by a very well known maker R C Murray of Glasgow Scotland. During the research several different addresses were found but nothing on the founder or company history. It appears RC Murray made not only marine lamps but lamps for the railways as well. The company is listed in the Scottish Post Office Directories for 1885 to 1886 as manufacturing tinsmiths, lamp makers, coppersmiths, gas fitters, bell hangers and workers in sheet iron, zinc and brass at street numbers 7, 9 and 11 Carlton Court, Bridge St Glasgow. An additional address is at 37 Cavendish St Glasgow listed for 1910, and also at Pollokshaws Road. The writer assumes the company must have moved sometime between 1886 & 1910 to these addresses. The writer at this time cannot ascertain any more historical information regarding the company or its founder, however, lamps made by RC Murray are now collector's items commanding significant sale prices on many auction websites.A significant item used in the marine industry on many ships, the company made kerosene lamps for other industries as well and was a well-known company in the early part of the 20th century.Marine kerosene ships lamp, round copper handle on top and side top is hinged with catch and lever, protruding near top.Inscribed "RC Murray and Co Limited" "Pollokshaws Road Glasgow S.1." flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, lamp, lantern, brass lamp, nautical object -
Federation University Historical Collection
Booklet - Booklet - Syllabus, Government Technical School, Hobart, Syllabus, 1892, 1892
The Tasmanian Parliament made provision for 'the teaching of the principles of technical education' in the Education Act (1885). Regulations specifying courses of instruction and establishing a committee of Technical Education followed in 1887. The first government Technical School opened in Hobart in 1888, offering evening classes in technical art and applied mechanics. Two months later a school was established in Launceston. Small classes were also held in regional centres and Schools of Mines were established in Zeehan, Queenstown and Beaconsfield. Curricula quickly expanded to include subjects ranging from mineralogy and metallurgy to commercial economy, beginning the long tradition of directly linking the schools with the interests of business and industry. The Technical Schools largely worked independently, with varying degrees of success, until 1916 when a Commission of Inquiry recommended the integration of technical education into the state education system. The outcome was a new Technical Education Branch, formed to administer Technical Schools and Schools of Mines and to provide a structured technical education system, comprising distinct trade certificates and applied sciences, engineering and arts diploma courses. Pale orange soft covered booklet.hobart, technical school, syllabus, malcolm kennedy, a. mault, r.s. pemberton, a. morton, a.j. taylor, henry lamb, j. mcmeekin, j.h. hunt, j.r. trantham-fryer, f.g. howell, w. middleton, trevor russell, j.f. echlin, w.f. ward, archibald park, a paton miller, committee members of technical education, department of art, department of mathematics, department of engineering, department of commercial economy, department of geology mineralogy mining, department of chemistry, department of pharmacy, department of veterinary science -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Clothing - Clothing, Lady's black beaded dress, c1900
During the reign of Queen Victoria, whose long and conspicuous grief over the death of her husband, Prince Albert, appropriate dress for men and women for the period of mourning was strictly prescribed and rigidly adhered to. Widows were expected to wear special clothes to indicate that they were in mourning for up to four years after the death, although a widow could choose to wear such attire for the rest of her life. To change the costume earlier was considered disrespectful to the deceased and, if the widow was still young and attractive, suggestive of potential sexual promiscuity. Those subject to the rules were slowly allowed to re-introduce conventional clothing at specific time periods; such stages were known by such terms as "full mourning", "half mourning", and similar descriptions. For half mourning, muted colours such as lilac, grey and lavender could be introduced.. Special caps and bonnets, usually in black or other dark colours, went with these ensembles. There was special mourning jewellery, often made of jet. By the late 20th century, this no longer applied, and black had been widely adopted by women in cities as a fashionable colour. A lady's full length black fine wool dress with pleated bodice and skirt. A beaded detachable collar sits over the dress forming a V shape back and front and is attached by hooks and eyes on right shoulder . Centre front from neck to point is a row of small black circular sequins. clothing, dressmaking, craftwork, cheltenham, market gardeners, pioneers, early settlers, moorabbin, bentleigh -
Bendigo Historical Society Inc.
Audio - The 1930s Depression Tapes - Shirley Mainstone, 2005
In 2005 Michele Matthews interviewed current and former residents of Bendigo for her thesis on the 1930s Depression as part of her PhD Research, with the University of Melbourne Faculty of Arts, History Department. Michele interviewed fifteen members of prominent Bendigonian families. The thesis was titled: "How Depressing?: The impact of the Great Depression on Bendigo and District 1925-1935". The Michele Matthews Collection contains fourteen audio cassette tape recordings and one written transcript. The tapes are each approximately 1 hour and 45 minutes duration. The questions presented to the interviewees explore everyday experiences they would have lived through at the time of the Depression. The questions covered sixteen relevant subjects: • Introduction and housing • Social activities, swimming, cinemas, school and games played with friends • Organizations such as the RSL, Relief Committees etc. and any effect they had on family life • The life of the single woman • Unemployment and Employment • Government Assistance • Charities Aid • Self-help • People Power, e.g. boycotts or protests • Politics • Trouble or crime • Family Health, Medical and Diet • Education • General memories of, and hardships encountered, during the DepressionNotes of Chat with Shirley Mainstone - There was no taped interview.history, bendigo, michele matthews collection, the 1930s depression tapes, shirley mainstone -
Bendigo Historical Society Inc.
Document - The 1930s Depression Tapes - Interview List, 2005
In 2005 Michele Matthews interviewed current and former residents of Bendigo for her thesis on the 1930s Depression as part of her PhD Research, with the University of Melbourne Faculty of Arts, History Department. Michele interviewed fifteen members of prominent Bendigonian families. The thesis was titled: "How Depressing?: The impact of the Great Depression on Bendigo and District 1925-1935". The Michele Matthews Collection contains fourteen audio cassette tape recordings and one written transcript. The tapes are each approximately 1 hour and 45 minutes duration. The questions presented to the interviewees explore everyday experiences they would have lived through at the time of the Depression. The questions covered sixteen relevant subjects: • Introduction and housing • Social activities, swimming, cinemas, school and games played with friends • Organizations such as the RSL, Relief Committees etc. and any effect they had on family life • The life of the single woman • Unemployment and Employment • Government Assistance • Charities Aid • Self-help • People Power, e.g. boycotts or protests • Politics • Trouble or crime • Family Health, Medical and Diet • Education • General memories of, and hardships encountered, during the DepressionTwo pages of Interviewee List.history, bendigo, michele matthews collection, the 1930s depression tapes -
Bendigo Historical Society Inc.
Document - The 1930s Depression Tapes - List of Questions for the Interview to follow and prompts, 2005
In 2005 Michele Matthews interviewed current and former residents of Bendigo for her thesis on the 1930s Depression as part of her PhD Research, with the University of Melbourne Faculty of Arts, History Department. Michele interviewed fifteen members of prominent Bendigonian families. The thesis was titled: "How Depressing?: The impact of the Great Depression on Bendigo and District 1925-1935". The Michele Matthews Collection contains fourteen audio cassette tape recordings and one written transcript. The tapes are each approximately 1 hour and 45 minutes duration. The questions presented to the interviewees explore everyday experiences they would have lived through at the time of the Depression. The questions covered sixteen relevant subjects: • Introduction and housing • Social activities, swimming, cinemas, school and games played with friends • Organizations such as the RSL, Relief Committees etc. and any effect they had on family life • The life of the single woman • Unemployment and Employment • Government Assistance • Charities Aid • Self-help • People Power, e.g. boycotts or protests • Politics • Trouble or crime • Family Health, Medical and Diet • Education • General memories of, and hardships encountered, during the DepressionQuestions, Notes and Prompts for the interviews.history, bendigo, michele matthews collection, the 1930s depression tapes -
City of Ballarat
Artwork, other - Public Artwork, Francis Michael Forde (Prime Ministers' Walk) by Victor Greenhalgh, 1963
Francis Michael Forde was Prime Minister for only eight days, 6–13 July 1945, after the death of John Curtin. Deputy leader of the federal parliamentary Labor Party for 14 years and for nine of those years was deputy Leader of the Opposition. The Prime Ministers Avenue is a collection of bronze bust portraits of the Prime Ministers of Australia, located at the Ballarat Botanical Gardens in Ballarat, Victoria. The Prime Ministers' portraits are commissioned after the incumbent term of each Prime Minister by the City of Ballarat. The City of Ballarat has taken responsibility for commissioning the busts after funds set aside by politician Richard Armstrong Crouch were exhausted in 2014. Crouch originally donate money to pay for six busts, the first of which was unveiled in 1940. The collection of prime ministers' busts are unique in Australia, representing the only sculptural portrait collection of all past Australian Prime Ministers. The different styles used reflect the unique artistic practices of the selected artists; textures, sizes and features and proportions are used by the artists to interpret the characteristics of each of the subjects.The artwork is of historic and aesthetic significance to the people of BallaratBronze bust cast on granite plinthFrancis Michael Forde Prime Minister 1945 prime minister, australian pm, francis michael forde, labor party