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Bendigo Military Museum
Photograph - PHOTOGRAPHS, KOREA, 1950-1953
The photos are a collection held by T. J. IRELAND C/K853677 P.O. STOKER MECHANIC RN while serving on HMS TRIUMPH, Korea 1950-53. Many are of the landings at INCHON, Sept. 1950. .1) Kure Harbour, Japan 1950. Ships assembling for the landings at INCHON, Korea. Ships across the top, left to right: HMAS SYDNEY, Fleet Oiler, VSS ANTIETAM, Hospital Ship & Japanese Coaster. In the foreground on the right, HMS BELFAST, HMS TRIUMPH, HMS CONSORT. On rear most photos are written on in blue pen. .2) INCHON landings Walmi-Do in background and landing barges - could be one I was driving. .3) Island - Walmi-Do - US landing craft. .4) INCHON landings. .5) US landing craft. .6) INCHON oil tanks and military targets on fire. .7) Grounded coaster after an air attack. .8) Two North Korean supply ships hit by rockets. .9) Korean supply vessels camouflaged. .10) Rocket attack on Korean supply vessel. .11) Sunken coaster that was carrying arms and food. .12) Sunken coaster in harbour. .13) & .14) North Korean armour taken from an observation flight. .15) & .16) Chinese tanks and armour. .17) HMS BELFAST, Fleet Oiler, HMAS WARRAMUNGA .18) Targets from rocket attacks. .19), .20) & .21) "Seafires" coming to land on HMS TRIUMPH. .22) Rearming cannon and rockets on a "Seafire'. Photos not written on, information was supplied by T.J. IRELAND. The "Seafire" was a naval adaption of the Supermarine Spitfire for carrier use..1) Photo, sepia tone, aerial view over a harbour with warships, bomb damage foreground, hills and buildings in the distance. .2) Photo, black & white, aerial view of harbour, city with several fires from shelling. .3) Photo, black & white, aerial view of island with landing craft. .4) Photo, black & white, aerial view over ships and harbour. .5) Photo, black & white, aerial view over four landing craft. .6) Photo, black & white, aerial view over city and fires. .7) Photo, black & white, aerial view over islands, boat .... small island. .8) Photo, black & white, aerial view over harbour with two boats on fire. .9) Photo, black & white, aerial view over structures covered. .10) Photo, black & white, aerial view over ship being attacked. .11) Photo, black & white, aerial view over harbour with sunken ship. .12) Photo, black & white, aerial view showing harbour, fire and sunken ship. .13) Photo, black & white, aerial view, five tanks along a road. .14) Photo, black & white, aerial view, same area as .13) showing a wider area. .15) Photo, black & white, aerial view showing tanks and armour. .16) Photo, black & white, aerial view road with armour, vehicles, people and smoke in distance. .17) Photo, black & white, aerial view showing three ships together. .18) Photo, black & white, aerial view showing a road control with targets either side on fire. .19) Photo, black & white, aerial view with aeroplane coming onto the deck of a carrier. .20) Photo, black & white, aerial view of a fighter plane. .21) Photo, black & white, on deck of a carrier. .22) Photo, black & white, rearming a plane with ammunition on carrier deck. Photos are various sizes.photos, korea, rn, inchon -
Flagstaff Hill Maritime Museum and Village
Glue Bottle, Joseph Armstrong Angus & Co, 1920s -1950
Angus & Co. was a large ink, gum, and paste manufacturing company established in Melbourne in 1896 by Joseph Armstrong Angus (1860-1936.) The company's premises included a bottle works to supply bottles for its many products. The company supplied various inks, gums, and paste too many business and domestic customers. Mucilage is a thick, gluey substance produced by nearly all plants and some microorganisms. These micro-organisms include protists who use it for their locomotion. The direction of their movement is always opposite to that of the secretion of mucilage. It is a polar glycoprotein and an exopolysaccharide. The mucilage in plants plays a role in the storage of water and food, seed germination, and thickening membranes. Cacti (and other succulents) and flax seeds are especially rich sources of mucilage. Mucilage is edible. It is used in medicine as it relieves irritation of mucous membranes by forming a protective film. It is known to act as a soluble, or viscous, dietary fiber that thickens the faecal mass, an example being the consumption of fiber supplements containing Psyllium seed husks. Traditionally, marshmallows were made from the extract of the mucilaginous root of the marshmallow plant (Althaea Officinalis). The inner bark of the slippery elm (Ulmus rubra), a North American tree species, has long been used as a demulcent and cough medicine and is still produced commercially for that purpose. Mucilage mixed with water has been used as a glue, especially for bonding paper items such as labels, postage stamps, and envelope flaps. Differing types and varying strengths of mucilage can also be used for other adhesive applications, including gluing labels to metal cans, wood to china, and leather to pasteboard. An early item from the late 1920s for office use as a glue by a well-known Melbourne manufacturer of office supplies of inks, glues, rubber stamps, and mucilage gums, etc.Bottle of Mucilage. Manufactured by Angus & Co Ltd Aust. Contents 20 Ozflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village -
Tatura Irrigation & Wartime Camps Museum
Photographs Loaned, Charlie Hogan Estate photos
Photos loaned for copying. Collection of photos loaned from Estate of Charlie Hogan.|Photo 1.Mick Hogan; Mrs. Hogan & Charlie Hogan.|Photo 2. Nora Keane whose mother was a Hogan.|Photo 3. Mick Hogan & Thomas Flanagan snr,, Hilston, early 1900s.|Photo 4. Ray Glover; Norm Doncon, Charlie Hogan &Tom Cornish.|Photo 5. Ray Glover; Bill Mitchell &Tom Hunter.|Photo 6. James & Annie Brady. James son ofJames & Julia. Annie, dau. of Thomas & Annie Hogan.|Photo 7. Jack O'Toole & Charlie Hogan.|Photo 8. Georgie Hing, thought to have been the Chinese market gardener at the Whim Inn corner, and who was killed while riding his bike.|Photo 9. Hogan Street building of Stan Tudor & Kilpatrick & McLellan, stock and station agent. Building now owned by Dawes & Vary, Solicitors.|Photo 10 & 11. Tatura Coursing Club 1926. St. Ledger Plumpton Coursing won by Ryan Bros.|Photo 12 & 13. In two halves. Rodney Irrigation Trust Commissioners and staff, possibly in front of original Tatura Mechanics Institute building. (Mick Cussen third from left seated; Thomas Hogan white beard seated with legs crossed. Billie Wilson snr. standing at rear left side.)|Photo 14. Group in front of Catholic church, c. 1925, boy on left thought to be Charlie Hogan. -
Ballarat Heritage Services
Photograph, Former Joseph Street Paton Memorial Presbyterian Church, Canadian, 2008, 26 /04/2008
The Jubilee of this church was held in 1933. "Paton Memorial Presbyterian Church. BALLARAT, Sunday Jubilee celebrations of the Paton Memorial Presbyterian Church were well attended in the week end. A basket picnic on Saturday at Eureka Stockade reserve was followed at night by a social gathering, at which a birthday cake was cut by Mrs. Amor, a foundation member. On Sunday special services were led by Rev. J. A. Moscript, assisted by the young men of St. John's Church. The church was originally founded, by the late Mrs. J. P. Murray to mission to the needs of the busy mining community which existed in Canadian in early years." (The Age, 06 November 1933.) PATON MEMORIAL CHURCH - An interesting tree-planting ceremony was performed in the grounds of the Paton Memorial Church on Saturday lost. Trees were put in by the scholars of the Sunday school to commemorate the enlistment of all the boys who had in any way been connected with the church. Sunday school, and Young Men's Club. The Mayor (Cr Levy) spoke in terms of praise of the lads who had enlisted to fight for right against might and the tyranny of Prussian militarism. The Hon. R. McGregor MLA., and the Revs. A. H. Moore and W. Rowlands were among those present. on also Mesdames J. P. Murray and McGowan, two of the founders of the church. During the afternoon Cr Levy planted a tree in honor of Mrs Murray. Afternoon tea was served by the ladies of the congregation. (The Age, 06 November 1933.) This church was in the middle of a Chinese neighbourhood, and the 1800s the leprosarium was in the vicinity. This bhurch was demolished not long after this photo was taken. Colour photograph of a weatherboard church in Joseph Street, Canadian. In 1937 this church was under the control of St. John's Peel-street, Ballarat. Members of the congregation: * Mrs. Amor - A foundation member. * Thomas Clarke and Isabella Clarke (formerly Ross) lived next door and according to family members "had a lot to do with the church". * Mrs McGowan - a founder of the church * Mrs. J. P. Murray founded the church to mission to the needs of the busy mining community which existed in Canadian in early years. joseph street ballarat, joseph street canadian, former joseph street paton memorial presbyterian church, ballarat, church, weatherboard church, presbyterian church, paton memorial church, clayton hill, claytons hill, leprosarium, chinese -
City of Greater Bendigo - Civic Collection
Artwork, other - Gold Chicko Roll, Simplot Australia, 2001
Commemorative object produced by Simplot Food Service and presented to the City of Greater Bendigo on the occasion of the 50th anniversary of the creation of the Chicko Roll by Bendigo born boiler maker, Frank McEncroe. The Chicko Roll has been an Australian icon since the 1960's and 70's. Inspired by the Chinese spring roll and first sold in 1951 as the "Chicken Roll" despite not actually containing chicken. The snack was designed to be easily eaten on the move without a plate or cutlery and is typically deep-fried in vegetable oil. By 1965 the ubiquitous Chicko Roll was sold in every fish and chip shop throughout the country and at the height of their popularity in the 1970s, 40 million Chiko Rolls were being sold Australia-wide each year and more than one million were exported to Japan.(Wikipedia https://en.wikipedia.org/wiki/Chiko_Roll). Advertised with the slogan 'Grab a Chiko', 'Hit the Hot Spot' and 'You Can't Knock the Roll' the marketing around the Chicko Roll was aimed towards the male population with women perched on Harley Davidson's prevocatively preparing to bite into a Chicko Roll. In 2008 with a push towards healthier eating, Chicko Roll reviewed its advertising and although it continues to target young men, it switched to using a 'fun, active' young women, riding a retro pushbike near the beach to improve its image. In 1995 J.R. Simplot, an American company who also own Leggo's, Birds Eye, Edgell and John Wes,t acquired Chicko Roll to sure up their foothold in the Australian market. Life size gold plated chicko roll in a hinged wooden presentation box with red lining. Double sided, printed letter accompanying the object explains its creation and significance.0365.1; CHICKOcity of greater bendigo commerce, mayor acherman -
Melbourne Legacy
Photograph, The Changi Violin, 1989
A photo of Jack Geoghegan holding the violin that is part of Melbourne Legacy's collection (see 00080) at The Shrine. The photo appeared in an article in The Age in 1989. One photo also appeared in the President's Highlights report in 1989. The caption of that photo says, 'Pensive thoughts for ex-prisoner of Changi Prison, Jack Geohegan when, as a guest of Melbourne Legacy, he was reunited with a very special possession kept in Legacy's care. Jack, whose signature is one of many, had not seen the violin since his days at Changi.' Background: This violin was played by VX30301 Dvr Roy Arnel, as a member of the Australian Imperial Force Concert Party, in the Changi POW camp, Singapore from 1942-1945. It is claimed that the violin, in its case was thrown over the wall by a Chinese civilian. Roy Arnel, a South African by birth enlisted on 7 June 1940 at Royal Park, Melbourne and served with 2 AASC Company as a driver. He was captured by the Japanese Imperial Army at the fall of Singapore in February 1942. There was more than one concert party in Changi as indicated on the rear of the violin. The details of the Dutch, British and American Concert Parties scratched in to the varnish. There are some well-known names scratched into the violin including: The English author and cartoonist, Ronald Searle; Australian entertainer, Frank Rich; and Australian Author, Russell Braddon. Mr Arnel died in 1982 and the violin was presented to Melbourne Legacy for preservation, safe keeping and display by his widow Mrs Florence Arnel in 1983.A record of a poignant reunion, Jack Geoghegan knew the violin while in Changi Prison and posed for photos on the Shrine to tell the story in The Age. Black and white photo x 3 of the Changi Violin at The Shrinechangi violin, pow, jack geohegan -
Port Fairy Historical Society Museum and Archives
Container - Apothecary Box
This homeopathic kit was owned by the Powling Family (E.W.Father and J.Son) for everyday useWooden box with concealed drawer used for storing homeopathic chemicals in the home. Containing 28 small bottles of various chemicals in top layer, plus a book titled "The Stepping Stones of Homeopathy and Health". In the bottom drawer 4 larger bottles of poison, 1 black lid, homeopathic pamphlet, bottles resting in cotton wool, 1 label "Hopkins and Williams Potassium Chromate". 28 cork lids, 4 glass stoppers, 1 bottle missing from top layer.(These are all separate labels) Ipecacuanha, Vomica, China Oft 1x, Tincture of Bella Donna (poison), Chamilla 3x, Antimonium Tart 3x, Rhus Tox, Carb Veget, Pulsatilla 1x, Sulphur 3x, phosphorus 3, Arsenicum Alb.3x, Colocynthis 3x, Hepar Sulph.6x, Lycopodium 3x, Cina 1x, Verat rum Alb 3x, Kali Bichrom.3x, Cimicifuga 1x, Cantharis Sol. 6x, Gelseminum 1x, Dulcamara 3x, Ignatia Amara 3x, Ferrum-Muriatic 1x, Rose Water Flavouring (R.S.Corson), Larger Bottles in Drawer: Rhus Toxicoderon, Calendula Officinal, Arnica Montana, Hamamelis Virginica, Bottom of Box : Small label :- pound sign 25/- 50/-homeopathy, powling -
Federation University Historical Collection
Book, Northern Territory of South Australia Report Resulting from the Explorations by the Government Geologist, 1906, 1906
Pale blue soft covered geological and general report. It includes a chapter of Bathurst Island and Melville Island, Primitive Methhods of Chinese Mining, Early Days of Mining in the Northern Territory Images include sandbank at low tide, Douglas River, Granite at Union Hill, Night Cliff, East Point, union hill, zapopan gold mine Brook's Creek, Blow Gold Mine Yam Creek, Daly River Copper Mine, Mount Ellison Copper Mine, Point Charles Lighthouse, Blacks Camp near Point Charles Lighthouse, The Venture Stranded on a Daly River Sandbank, Hyland Bay Natives, Boabab Trees at Blunder Bay, The Wai Hoi, Mouth of Fitzmaurice River, Point Blaze Natives, Fort Hill and Old Gulnare Jetty Port Darwin, Large Anthill, Daly RIver Natives, Wargie Natives, L.C.E. Gee, H.Y.L. Brown, H. Basedow. F.J. Williamson, Aboriginal crew (Pedro, Peter, Tobatchie, Bubs, Loman), Henry Roberts, Schollert's Grave It also includes a large folder Geological Map of the North-Western District Northern Territory of South Australia. northern territory of south australia, geology, l. o'loughlin, douglas river, bathurst island, melville island, apsley straight, chinese, aboriginal -
Bendigo Historical Society Inc.
Document - ARTICLES FOR ROYAL HISTORICAL SOCIETY (BENDIGO BRANCH) NEWSLETTER APRIL 1973
Articles for Royal Historical Society (Bendigo Branch) Newsletter - April 1973. 1. From Bendigo Advertiser 15/10/1950 re Bendigo's first unofficial postman, Mr Collier, White Hills. 2.''Inaugurating the New Lock Up'' from Bendigo Advertiser 20/9/1861; mention of Detective Thompson and first inhabitant of Market Square lockup (man named Diamond). 3. Chinese Testimonial (Bendigo Advertiser 27/11/1856) re ring presented to Mr Lysaght as their ''first lawyer''. 4. Bendigo City Coat of Arms - description of this in detail and the representations of the Coat of Arms that are incorrect (eg on three sides of the City Hall) Suggestion - '' see the old Council Chambers'' for ''portraits'' of the (full and correct?) Bendigo Coat of Arms.5. Article from Bendigo Advertiser 4th Jan 1864 re storm of 31/1/1864 (sic) December? Mention of Axe Creek Bridge Hotel of Mr Costelloe. A note from 1973 from author that this hotel might later have been renamed 'The Perseverance' hotel; details of severed storm and flash flood of the day. [Two copies].document, names of bendigo pioneers, bendigo -
Bendigo Historical Society Inc.
Document - VICTORIA HILL MARONG RD BENDIGO HERITAGE DAY BROCHURE 2010, 2010
Victoria Hill Marong Rd Bendigo (Opposite the Gold Mines Hotel) Heritage Day Brochure 2010. Victoria Hill Guided Tours James Lerk (Bendigo Historical Society) George Ellis (Bendigo Cornish Association) Rod Orr (Bendigo Field Naturalists Club) David Bannear (Heritage Victoria) Presentations: Rod Fraser The Geology of Victoria Hill and Bendigo, Kurt Walder German Heritage Ballerstedts-miners from the Hartz Mountains crushing battery, Rod Orr Mining and the Environment in Bendigo, Michele Matthews (BRAC) Sir John Quick the Forgotten Father of Federation spent his youth in the shadow of Victoria Hill, David Bannear ''Things Forgotten'' - the Archaelogy of Bendigo, Carol Holsworth the Chinese and Victoria Hill area, John Kelly Inquests held at the Gold Mines Hotel, George Ellis The Cornish miners of the Ironbark and Long Gully area, Amanda Jean The Ironbark Heritage Study. Coath Cottage Open Day owner Andrew Ward and Restorer Gary Hill explain the history and restoration of the 1860s miners cottage after Black Saturday fire. Restoration Loans from the City of Greater Bendigo.bendigo, gold mining, heritage day 2010 -
Conservation Volunteers
Memorabilia: Cyclone Sylvaspade, Australian Bicentenary 1988, Cyclone Sylvaspade - Senator Graham Richardson planted a tree using this spade at Sovereign Hill Outdoor Museum to mark ATCV's work at the Australian Bicentennial, 1988 (exact)
The spade is a memento of the planting of a tree by the responseible Commonealth Minister to recognise the contribution of ATCV and ATCV volunteers to repair of the Australian environment. At the time ATCV had been operating in Ballarat for six years. ATCV volunteers had planted 192,000 trees from April 1987- March 1988. Senator Richardson was then Minister for the Arts and the Environment in the Hawke ALP Government and on 17 November 1988 he planted a tree using this spade at Sovereign Hill Outdoor Museum (at which ATCV volunteers had planted trees which are (by 2010) fully grown and a significant feature of the site). Peter Hiscock was director of Sovereign Hill as well as President of ATCV and among the most significant leaders of ATCV (now CVA). The spade also symbolises the recovery of ATCV (then a small and struggling community group) from near closure owing to the effects of the 1987 recession. The Cyclone Sylvaspade concept was component project of the Australian Bicentennial celebrations aimed at recognising organisations which had contributed positively to conservation of Australia's environment. The concept was originated and driven by Dr Wilf Crane of the CSIRO Division of Forestry and a highly regarded forester and environmentalist and champion of the cause of rejuvenating Australia's degraded landscape with trees. At the naming of a road after him in Canberra he was described as a: "enthusiast, a man of conviction, action, humility and simplicity". Wilf conceived the project, developed the tree planting spade with Boral Cyclone and the Institute of Foresters of Australia and launched it with the then Governor-General Sir Ninian Stephens at the new Parliament House. Cyclone has been a brand name for a manufacturer of good quality hand tools for over a century. It is likely manufacturing was still done in Australia at the time of manufacture of the Sylvaspade. Much of it has now moved offshore, particuarly to China and Taiwan.This object is historically significant because it is a memento of a significant national event, the 200th anniversary of European settlement and the start of a process of environmental change which has had negative consequences and which demands a commitment to conserving the uniques Australian national environment. It recognised the achievement of ATCV in tree planting over six years. The Cyclone Sylvaspade is a practical memento and having the responsible Commonwealth Minister plant a tree with it was highly symbolic of ATCV's practical commitment to repair of our environment all over Australia. It was also used by the Victorian Premier, Hon John Brumby, to plant a tree at the reopening of the Boral Asphalt plant, Ballarat, in April 2010. The spade is No. 12 of a limited edition. This item is a functional tree planting spade called a "Cyclone Sylvaspade", mounted on a block of wood with a plaque. The handle of the spade is made of grey plastic, the haft is light, stained wood, and the blade is manufactured to resemble silver and has engravings. It was donated by the Boral company and presented to ATCV by the Minister of Arts and the Environment, Senator Graham Richardson after he had planted a tree to mark the occasion at Sovereign Hill Outdoor Museum, BallaratOn the stem of the spade here is a label showing the logo of the Boral company which reads "SYLVASPADE Tree Planting Spade - Made in Australia." On the blade is engraved "Cyclone - NUMBER 0012 - SYLVASPADE - 1788-1988" together with the logo of the Australian Bicentennial Authority. The spade is mounted on a sturdy polished wooden board on which there is a brass-coloured plate bearing the words: "PRESENTED BY SENATOR THE HON GRAHAM RICHARDSON TO AUSTRALIAN TRUST FOR CONSERVATION VOLUNTEERS IN RECOGNITION OF THEIR CONTRIBUTION TO THE ENVIRONMENT 17TH NOVEMBER 1988 DONATED BY BORAL LIMITED"of, trust, ballarat, memento, australian, australia, environment, conservation, atcv, for, volunteers, cyclone, sylvaspade, senator graham richardson, 1788 1988 australian, bicentennial, boral, spade, sovereign hill, 17th november 1988, 1988, minister for arts and environment, tree planting, institute, foresters, dr, wilf, crane -
Flagstaff Hill Maritime Museum and Village
Functional object - Sculling Oar, Mid to late 19th century
An oar is an implement used for water-borne propulsion. Oars have a flat blade at one end. Rowers grasp the oar at the other end. The difference between oars and paddles is that oars are used exclusively for rowing. In rowing the oar is connected to the vessel by means of a pivot point for the oar, either an oarlock, or a hole. The oar is placed in the pivot point with a short portion inside the vessel, and a much larger portion outside. The rower pulls on the short end of the oar, while the long end is in the water. By contrast, paddles, are held in both hands by the paddler, and are not attached to the vessel. Rowers generally face the stern of the vessel, reach towards the stern, and insert the blade of their oar in the water. As they lean back, towards the vessel's bow, the blade of their oars pivots in the oarlock, and the end in the water moves towards the stern, providing forward thrust. There also is another way of propelling a small craft it's called a sculling oar which is attached to the transom and used to propel a small vessels rather than using two oars as previously described. It is believed the subject item is just such an oar given it’s long blade associated with a sculling oar. For thousands of years vessels were powered either by sails, or by the mechanical work of rowers, or by paddlers. Some ancient vessels were propelled by both oars and sail, depending on the speed and direction of the wind. Wooden oars, with canoe-shaped pottery, dating from 5000–4500 BC have been discovered in a Hemudu culture site at Yuyao, Zhejiang, in modern China. The history of man using wooden oars to propel a boat has a considerable record in marine archaeology going back many centuries. The item is significant for marine archaeology as it gives a snapshot into how a small row boat was powered using a wooden sculling oar. A method of propelling a small boat still used today an example is the gondoliers in Venice using a sculling oar in a circular motion to propel his craft. Single sculling oar with long flat blade, two copper bands, on blade with rowlock fittingNoneflagstaff hill, warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, boat oar, sculling oar, row boat -
Australian Gliding Museum
Machine - Glider – Sailplane, 2015
The Salamandra is a Polish glider designed by Waclaw Czerwinski at the Military Glider Workshops in Krakow in 1936. This glider, designated “W.W.S.1”, was produced in substantial numbers prior to the second world war and used in Poland and some other eastern European countries for training pilots. Only one example survived the war, hidden away in the village of Goleszow in Silesia. In addition, no technical drawings could be found, so when the glider was discovered, the Gliding Institute being keen to re-establish gliding in Poland, used the glider to draw up new plans for construction. Five were built for the Institute in 1947 before production was resumed of the “Salamandra 48” at the SZD Jezow Workshops. Improvement were made by adding airbrakes and structural changes for the “Salamandra 49” and a windscreen and larger tailplane were changes adopted for the “Salamandra 53”. An export version designated “53A” was sold to and built under licence in China. Production of the Salamandra ceased in the early 1960s. Total production may have been in excess of 500. The glider was well regarded as a light weight trainer capable of soaring performance. The Museum’s replica was built by Ray Ash and may be may be classified as a “Salamandra 53”. However, he has added something of his own to the design by replacing the cable runs in the wings with control rods. The glider is substantially complete. The wings and tail / rudder surfaces have been covered with poly-fibre fabric. The fuselage woodwork is sealed with varnish. In addition to the finishing work (including painting) and rigging of the main components, the linkages for Ray’s control rod modification may need further engineering to make them operational. The Ray Ash Salamandra is the first of the type to appear in Australia. The Salamandra did not play any role in the development of gliding in Australia in the early years. However, it is an important exhibit in that it shows in tangible form a nacelle fuselage training glider in configuration and construction detail. As such it revisits the pioneering era of the 1930s and 1940s in Australia when wood, wire and fabric were the rule and the nacelle primary glider was generally the first step up for pilots who had mastered the basics in an open primary.Nacelled solo training glider of traditional wood and fabric construction. Construction incomplete.Noneaustralian gliding, sailplane, glider, salamandra, czerwinshi, poland, ash -
Federation University Art Collection
Work on paper - Artwork, Martin King, 'The Time Has Come' by Martin King, 2015
Martin KING (1957 - ) Born Melbourne This work was exhibited as part of "Parallel Prints", a Prints project which presents the same exhibition simultaneously in New Zealand, at Art at Wharepuke and at a gallery in another part of the world. Eleven Australian artists were invited to join New Zealand-based printmaker Mark Graver to contribute to a portfolio that will be shown simultaneously at Art at Wharepuke, New Zealand and the Art Gallery of Ballarat, Victoria. Using the uniqueness of the reproducible print allows for the same works to be viewed at the same time on opposite sides of the world. This highlights the democratic nature of printmaking and questions the aura of the unique. Which venue is showing the 'real' work? Which the reproduction? The Australian artists showing alongside Mark Graver are James Pasakos, Bruno Leti, Martin King, David Frazer, John Neeson, Antonietta Covino-Beehre, Deborah Klein, Deborah Williams, Melissa Smith, Jodi Heffernan and Susanna Castleden. The original concept, Parallel Prints NZ-UK in 2013, included invited artists from the UK and New Zealand. It featured the work of twelve diverse artists presented in a portfolio set. Each artist contributed one work on 300 x 300 mm paper in an edition of thirty-six. Part of the concept behind the project was to donate twelve of the portfolio sets to international collections. Institutions that have accepted a portfolio include the Victoria & Albert Museum and The Ashmolean Museum in the UK, the Jinling Museum of Art in Nanjing, China, and the Whangarei Art Museum, in New Zealand. In 2015 a portfolio set was donated to the Federation University Art Collection. 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 limited edition print Editioned lls '2/36' Signed lrs 'King'artist, artwork, printmaking, parallel prints, martin king -
Chinese Museum
exhibition panel, Young Chinese League debutante set 1938, 1938
This photograph was taken of the debutantes and their partners presented at the annual debutante ball.This photograph is significant for its links to the Chinese Young League. The League was formally established on 4 October 1932 to to promote free social intercourse and goodwill among its members and their mutual improvement. Membership was open to all persons, with one or both parents or grandparents born in China. Wives of Chinese members were permitted as members with the same privileges. It was a significant social organisation for Chinese-Australians in Melbourne in the mid to late twentieth century.Laminated black and white photographic print (copy print) on card. Front of card, top centre: 'Young Chinese League debutante set 1938'. Front of card, bottom centre. 'Back row: Claude WONG HEE, Jack GOON, Arthur WHEE, Gordon NAM, Gordon LOUEY, Owen YOUNG, Stanley AH MOUY, Harold KONG, Dennis QUON, G TYE DIN, Harold MEW. Next Row: Linda YOUNG, Doris WHEE, Rose YIN, Phyllis POON, Violet TOW, Thelma WING JAN, Kim SHEE, Violet LOUEY, Eunice CHIN, Edna KONG, Betty WHEE, Jean LIM, Norma YOUNG'. Back of card, top right hand corner. Number '1938' has been written in blue pen. Sticker text 'P735 (another version = P587) 93.2.1'.young chinese league, debutante balls, melbourne -
Tramways/East Melbourne RSL Sub Branch - RSL Victoria Listing id: 27511
Print - Gravure Print, Ataturk Commanding Turkish military campaigns 1915, 2015
A gift from the Turkish Consulate for the 100th Anniversary of Gallipoli.A framed gravure print by Erol Yildirim, edition is numbered as 48/100, and dated as 2015. The subject matter is concerned with Turkish military campaigns. On the revers of the print is a label with the following information. 'Biography of the Artist / Colonel Erol YILDIRIM (Ret'd) Born in 1959 in Bolu / Turkey, he completed his secondary education in Izmir, and began his military education at the Army War College in 1977. His career in arts started by attending the art club of the military college. He has organised 9 private exhibitions and taken part in 52 group exhibitions. He has won the following 8 awards. - 2009, 2010, 2011, 2012, 2013, 2014 Artmajeur Silver Awards - 2014 The XV Ex lib's Biennial as 'Selected exlibris' Miata Museum Ostrow Wielkopolski - POLAND - 2014 The 3rd Guangzhou International Exlibirs and Mini Print Biennial as 'selected exlibris guangzhou china' erol yildirim, turkey, print, artworks, war, turkish soldiers -
Ballarat Heritage Services
Lisa Gervasoni, Understanding Ballarat's Heritage Education Kit
A CD-ROM education package providing information on: VELS History 4 – Ballarat's heritage can tell us about key events such as Eureka, democracy, gold rushes, federation. Deakin was the member for Ballarat and was involved in the development of the Fine Art Gallery. - Ballarat’s goldfields were very multicultural in comparison to Ballarat today. Chinese made an impact on the goldfields – miners, mining techniques and in medical treatments. VELS History 5 – Eureka – what did that say about governance and justice in the 1850’s. - Working conditions and unionism .. Why would work safety and working hours be important to Ballarat. What was life like 100 years ago – what work did people do, how were domestic tasks undertaken, how was travel undertaken). culture and art – what aspects / collections tell us about life in Ballarat. (note the focus is not on medieval times but the early years of Ballarat – lessons of change and continuity still apply) VELS History – 6 – Eureka and democracy Gold rushes and development of tools and skills Trade unions and work conditions Remembrance of war Early multiculturalism Changes in technology – medical, educational, communications Technological changes made by Ballarat or Ballarat residents ballarat heritage, city of ballarat education kit -
Ballarat Tramway Museum
Photograph - Digital image Set of 9, 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 9 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 - 40 south bound in Lydiard St Nth, at the Gregory St Loop. .2 - 40 after passing through the loop .3 - 42, north bound in Lydiard St. North at Macarthur St. .4 - 42 southbound at the Railway station level crossing with the Kennedy Murray Pty Ltd General Carriers building at the station yard in the background. .5 - 42 southbound in Lydiard St North after crossing the railway - taken from the signal box (B) with Reids Palace in the background and the Provincial Hotel. .6 - 35 northbound after passing through the level crossing. .7 - bogie tram crossing the tracks with Ballarat Railway Station in the background. .8 - bogie tram entering the double track section in Lydiard St with Reids Palace in the background. Note the new bus stop bay. .9 - 35 and another bogie in Sturt St, with the Town Hall, Golden Star Chinese Cafe and Georges Fish & Chip shop in the background.trams, tramways, lydiard st nth, gregory st, level crossings, ballarat railway station, sturt st, closure, tram 40, tram 42, tram 35 -
Flagstaff Hill Maritime Museum and Village
Craft - Ship Model, Billings Boats Denmark Aps, Cutty Sark, 1980s
This ship model of the Cutty Sark was hand-built in the 1980s from a model kit produced by Billings, Denmark. It was on display in the Olde Maritime Motor Inn in Warrnambool until it was refurbished around 2015. The Cutty Sark was a famous clipper ship, launched in 1869 for the tea trade from China to London. The ship was designed for speed, with the ambition to be the fastest ship. In the late 1800s, it competed in the tea clipper races. It was eventually sold to a Portuguese company, Ferreria, and took on the company's name. It was sold again and renamed Maria do Amparo. Finally, the ship's name was returned to the original 'Cutty Sark' when it was purchased by Captain Dowman for use as a cadet training ship. The ship continued trading and in 1922 it became the last operating clipper ship in the world. The ship is now a museum, preserved in a dry dock at Greenwich, England, as part of the British National Historic Fleet. About Barry Williams: - The maker, Barry Williams, worked for the Australian Shipping Line, Huddart Packard Ltd., until it closed down in 1960. Williams then worked for Shaw Savill & Albion Co. Ltd., a substantial British passenger and liner company. and subsequently Furness Withy Ltd. (SS&A's parent company). In the late 1970s Williams and two friends established their own ship chartering company in Melbourne, the Harwood Shipping Co. During the early 1970s Williams and his wife lived in London, near Greenwich, and often walked along the river where the Cutty Sark Maritime Museum is located. The fascination of the Cutty Sark led Williams to build model ships of the same era. At one stage Williams lost the rigging plan for the Cutty Sark but one of his partners, on a visit to London, photographed the Cutty Sark on the river, and Williams used these to complete the rigging on the model. Williams found the making of the model a very demanding but also pleasurable exercise.The model is significant for showing a visual representation of one of the most famous tea clippers, the vessel Cutty Sark. The three-masted ship was built for speed and traded tea between England and China. In 1922 the Cutty Sark became the last operating tea clipper in the world. The craft of ship model building has been popular for centuries, especially with people associated with the sea, such as this model builder, whose career was based around the shipping industry.Ship model; clipper ship, the 'Cutty Sark', a three-masted clipper ship, bare rigging, netting below the bowspit, and fine chains hanging from the bowspit. Black hull with two parallel horizontal stripes below the rail. Lifeboats on board. The white figurehead is below the bowsprit. The model comes with a cradle stand. The ship's name is not visible on the model.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, cunysark, historic sailing ship, tea clipper, sail training vessel, cadet training ship, commercial trading vessel, cargo sail vessel, ship model cutty sark -
Flagstaff Hill Maritime Museum and Village
Ceramic - Chamber Pot, 1912
In the 19th and early 20th centuries, J. & G. Meakin were important, large-scale producers of good quality, ironstone tableware (‘White Granite’ ware) that met a ready market in the United States, South America, Australia, and other traditional British markets. By the 1890s the company was one of the world’s largest earthenware manufacturers. Although export teaware and tableware was the factory’s staple commodity, Meakin also manufactured toilet ware, kitchen ware and a wide range of fancy earthenware. The company was amongst the first British pottery firms to experiment with modernist designs associated with the art deco period. The Moderne' range was introduced in 1929 consisting of an angular shape decorated design with geometric patterns and often highlighted with silver or gold. This range remained in production through the 1930s. Post 1945 the company introduced the streamlined Studio shape (1953) and Horizon shape (1955) both heavily influenced by the Russell Wright ‘American Modern’ tableware. In 1964 a new Studio shape was released with tall streamlined coffee pots used as the background for many contemporary patterns now associated with the 1950s and 1960s. Designs by Jessie Tate and Eve Midwinter, some originally found on Midwinter shapes, also appear on 1970s Studio ware. The Studio range was one of Meakin’s most successful and continued in production until the late-1970s. The enormous range of floral, geometric, and abstract designs make Studio Ware collectible in its own right. In the 1970s and 1980s as part of the Wedgwood Group Meakin produced contemporary products under the ‘Bull in a China Shop’ and ‘Creative Tableware’ names. ‘Sol’ (c.1912-1963), ‘Studio’ (1953 on) and ‘Royal Staffordshire’ (post 1968) were important J. & G. Meakin Ltd trade names. Meakin marks are numerous, but all include the J. & G. Meakin name. The significance of this item and pottery generally is that often earthenware is portrayed as being a landmark in the evolution of humanity. This is because these items are the few things from the past that have survived in a tangible form. Pottery is an important functional part of society and it has a critical role to play as it helps archaeologists to date other artefacts of the same time period. Also, the decorations on pottery have told much about the beliefs, lifestyles and lives of the people who bought them and used them. In other words it gives us today a snapshot of society from the past and how people used these items in their daily lives, their likes as well as societal and design trends. Earthenware white glazed ironstoneJ & G Meakin Hanley England stamped to base, with white flora designwarrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, pottery, earthenware, iron stone, alfred meakin, james meakin, george meakin, earthenware manufactures, chamber pot -
Flagstaff Hill Maritime Museum and Village
Domestic object - Glass
The art of making glass can be traced back to 2600 BC in Mesopotamia. Egyptians practised making glass around 2500 BC. Artificial glass first appeared in the Egyptian or the Mesopotamian civilization, whereas they used tools made out of volcanic glass obsidian in the Stone Age. Ancient China, however, discovered how to make glass a little later. Glass beads are known to be one of the earliest products made out of glass. Their creation is thought to be primarily accidental. In the later Bronze Age, glassmaking came to a halt. Glass was a luxury material back then. Archaeological excavations suggest the use of glass in England during the middle ages. In the 10th century, stained glass found a place in cathedrals and windows of palaces. After the Renaissance, architectural methods changed substantially, leading to a decrease in stained glass as a building material. Domestic use of glass increased following the industrial revolution. Vessels, glass windows, and glass beads gained popularity in Europe during this period. During the 19th century, many people preferred glass windows and doors as a decorative option. In the late 19th century, some designers brought back stained glass in decorative windows. It was during this period that Mr Tiffany discovered several methods to make domed glass handicrafts. People discovered the true versatility of using glass as a building material only in the 20th century. With glassmaking technology receiving an industrial boom, you could produce several different types of glass. Toughened glass, laminated glass, bulletproof glass, and smart glass all boosted the use of glass in buildings. Today, several skyscrapers, small and big homes, and offices use glass in almost all aspects of construction and design. https://www.aisglass.com/glass-made-step-step-process/The invention and development of glass, both as domestic items and in building, has been nothing short of revolutionary. Prior to the use of glass for windows, the interior of buildings were extremely dark, even during sunny days. The use of glass domestic objects, that could be easily washed, led to improved hygiene.Cylindrical drinking glass with stepped relief around lipNoneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, glass -
Blacksmith's Cottage and Forge
Strainer, Tea, 1920 (estimated); Approx. 1920
A tea strainer is a type of strainer that is placed over or in a teacup to catch tea leaves. When tea is brewed in the traditional manner in a teapot, the tea leaves are not contained in teabags, but rather are freely suspended in the water. As the leaves themselves may be distasteful, it is usual to filter them out with a tea strainer. Strainers usually fit into the top of the cup to catch the leaves as the tea is poured. Some deeper tea strainers can also be used to brew single cups of tea, much as teabags or brewing baskets are used - the strainer full of leaves is set in a cup to brew the tea, and then removed, along with the spent tea leaves, when the tea is ready to drink. By using a tea strainer in this way, the same leaves can be used to brew multiple cups. Tea strainer use declined in the 20th century with mass production of the tea bag, but is still preferred among connoisseurs who claim that keeping the leaves packed in a bag, rather than freely circulating, inhibits diffusion. Many assert that inferior ingredients, namely dust quality tea, are often used in tea bags. Tea strainers are usually either sterling silver, stainless steel, or china. Strainers often come in a set, with the strainer part and a small saucer for it to sit in between cups. Tea strainers in themselves have often been turned into artistic masterpieces of the silver- and goldsmith's craft, as well as rarer specimens of fine porcelain. Brewing baskets (or infusing baskets) resemble tea strainers, but are more typically put in the top of a teapot to contain the tea leaves during brewing. There is no definitive boundary between a brewing basket and a tea strainer, and the same tool might be used for both purposes. Tea strainers are also used by patients trying to pass a kidney stone. The patient urinates through the strainer, thereby ensuring that, if a stone is passed, it will be caught for evaluation and diagnosis. Source: www.wikipedia.net This item has historical significance in the evolution of Tea drinking.The Strainer being needed if a cup of tea was to be poured without tea leaves being present in the tea liquid.As Tea bags have been introduced into everyday life tea strainers are an item of the past. This particular tea strainer was an item for everyday useage.White enamel tea strainer, round in shape with flange edges, 7 small circle areas of perforations in the concave area of the utensil, a small perforated handle (same material) at one outer area of the item.domestic, kitchen, food, preparation, white, enamel, tea, strainer, beverage, perforated, utensil, round, flanges, leaves -
Flagstaff Hill Maritime Museum and Village
Ceramic - Chamber Pot, J & G Meakin, Early to mid 20th century
In the 19th and early 20th centuries, J. & G. Meakin were important, large-scale producers of good quality, ironstone tableware (‘White Granite’ ware) that met a ready market in the United States, South America, Australia, and other traditional British markets. By the 1890s the company was one of the world’s largest earthenware manufacturers. Although export teaware and tableware was the factory’s staple commodity, Meakin also manufactured toilet ware, kitchenware and a wide range of fancy earthenware. The company was amongst the first British pottery firms to experiment with modernist designs associated with the art deco period. The Moderne' range was introduced in 1929 consisting of an angular shape decorated design with geometric patterns and often highlighted with silver or gold. This range remained in production through the 1930s. Post 1945 the company introduced the streamlined Studio shape (1953) and Horizon shape (1955) both heavily influenced by the Russell Wright ‘American Modern’ tableware. In 1964 a new Studio shape was released with tall streamlined coffee pots used as the background for many contemporary patterns now associated with the 1950s and 1960s. Designs by Jessie Tate and Eve Midwinter, some originally found on Midwinter shapes, also appear on 1970s Studio ware. The Studio range was one of Meakin’s most successful and continued in production until the late-1970s. The enormous range of floral, geometric, and abstract designs make Studio Ware collectible in its own right. In the 1970s and 1980s as part of the Wedgwood Group Meakin produced contemporary products under the 'Bull in a China Shop' and 'Creative Tableware' names. 'Sol' (c.1912-1963), 'Studio' (1953 on) and 'Royal Staffordshire' (post-1968) were important J. & G. Meakin Ltd trade names. Meakin marks are numerous, but all include the J. & G. Meakin name. The significance of this item and pottery generally is that often earthenware is portrayed as being a landmark in the evolution of humanity. This is because these items are the few things from the past that have survived in a tangible form. Pottery is an important functional part of society and it has a critical role to play as it helps archaeologists to date other artefacts of the same time period. Also, the decorations on pottery have told much about the beliefs, lifestyles and lives of the people who bought them and used them. In other words it gives us today a snapshot of society from the past and how people used these items in their daily lives, their likes as well as societal and design trends. Chamber pot ceramic white with handle at side and decoration around top. Unclearwarrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, champer pot, personal hygiene, personal item, ceramic pot, domestic object -
Flagstaff Hill Maritime Museum and Village
Tool - Chisel, 1940-1962
William Marples junior joined his father's joinery making business in 1821. In 1860 William's sons joined him and the firm became William Marples and sons. Over the years they acquired John Moseley & Sons a London plane maker and Thomas Ibbotson & Co a Sheffield edge tool maker. Growing to become the most prolific and best known Sheffield tool maker. Their large factory was known as the Hibernia Works. Their trademark was a shamrock that appeared on some of their tools, in 1961 they had about 400 employees. In 1962 the record Tool Company and William Ridgway acquired a fifty percent interest in the company and in 1972 the companies merged with several others to form Ridgway Tools Ltd. After 116 years at its Hibernia Works, the company was moved to Dronfield. A 1982 takeover by A G Bahco of Sweden was short-lived and in 1985 Record Ridgway returned to British ownership first as Record Marples Woodworking Tools Ltd. In 1988 then as Record Holdings PLC in 1993. In 1998 the company accepted a bid from American Tool Corporation, subsequently trading as Record Irwin. The Irwin company itself was acquired by Newell Rubbermaid in 2002 and renamed Irwin Industrial Tool Co. Both the Marples and Record names were re-branded "Irwin" However the name has since been resurrected as Irwin/Marples and applied to wood chisels and table saw blades now made at their new facility in Udine, Italy. As a footnote, William Marples was the uncle of Robert Marples and Joseph Marples, both of whom established competing tool making businesses in Sheffield. The Robert Marples firm disappeared early in the 20th century. After several changes in the company's ownership tools are now made under the Ridgway name but in China.A tool made by a company with a long family history of tool making in Sheffield England, with a member of the Marples family, Joseph Marples establishing a competing tool company which continues today to manufacture quality products for the joinery and shipwrights trades.Socket chisel with 1/2" blade."Marples & Son" stamped on bladeflagstaff hill, warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, hand tool, ward chisel, woodwork chisel, marples and sons, cabinet makers tools, william marples and sons -
Flagstaff Hill Maritime Museum and Village
Domestic object - Butter Dish
The art of making glass can be traced back to 2600 BC in Mesopotamia. Egyptians practised making glass around 2500 BC. Artificial glass first appeared in the Egyptian or the Mesopotamian civilization, whereas they used tools made out of volcanic glass obsidian in the Stone Age. Ancient China, however, discovered how to make glass a little later. Glass beads are known to be one of the earliest products made out of glass. Their creation is thought to be primarily accidental. In the later Bronze Age, glassmaking came to a halt. Glass was a luxury material back then. Archaeological excavations suggest the use of glass in England during the middle ages. In the 10th century, stained glass found a place in cathedrals and windows of palaces. After the Renaissance, architectural methods changed substantially, leading to a decrease in stained glass as a building material. Domestic use of glass increased following the industrial revolution. Vessels, glass windows, and glass beads gained popularity in Europe during this period. During the 19th century, many people preferred glass windows and doors as a decorative option. In the late 19th century, some designers brought back stained glass in decorative windows. It was during this period that Mr Tiffany discovered several methods to make domed glass handicrafts. People discovered the true versatility of using glass as a building material only in the 20th century. With glassmaking technology receiving an industrial boom, you could produce several different types of glass. Toughened glass, laminated glass, bulletproof glass, and smart glass all boosted the use of glass in buildings. Today, several skyscrapers, small and big homes, and offices use glass in almost all aspects of construction and design. https://www.aisglass.com/glass-made-step-step-process/The invention and development of glass, both as domestic items and in building, has been nothing short of revolutionary. Prior to the use of glass for windows, the interior of buildings were extremely dark, even during sunny days. The use of glass domestic objects, that could be easily washed, led to improved hygiene.Moulded patterned glass butter dish. Base has been broken.None.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, glass, kitchen item, butter -
Ballarat Heritage Services
Photograph - Colour, Figureheads, Cutty Sark vessel and exhibition, Greenwich, England, 6 November 2016
The Long John Silver Collection of Figureheads is displayed alongside the Cutty Sark. It is the largest collection of Merchant Navy figureheads in the world. It was given to Cutty Sark in 1953 by Sydney Cumbers, also known as Captain Long John Silver because of his eye patch. These figure heads come from vessels mostly dating from the 19th century and the collection, like Cutty Sark herself, is dedicated as a memorial to the men of the Merchant Navy. The Cutty Sark was launched on 22 November 1869. She was named by the wife of George Moodie, the ship's first master who had also supervised her construction. Cutty Sark left the Clyde on 13 January 1870. A month and two days later, she set sail from London for China. Cutty sark was designed and built by Scott & Linton of Dumbarton for 16,150 pounds. But much of the money was to be paid by Willis when the ship was launched. Just before they finished her, Scott & Linton ran out of money and went bankrupt. She was completed by William Denny & Brothers. The Cutty Sark was the first ship to reach London with a tea cargo in 1877. But she was one of only nine sailing ships that returned that year - in 1870 there had been 59. Steamships were now dominating the tea trade. In 1883 the Cutty Sark joined the booming trade in transporting Australian wool. Every year until 1895 she set out in the summer for Australia, to load a cargo of wool bales and return to England in time for the wool sales ini the first three months of the new year. Cutty Sark soon established herself as the fastest of the wool clippers. Under her last master, Richard Woodget she set record times of 70 days or less for the voyage which no other sailing ships could match.cutty sark, exhibition, wool, australia, china, sailing, woodget, moodie, london, willis, dumbarton, scott & linton, william denny, tea, cargo, immigration, trade, figureheads -
Ballarat Heritage Services
Photograph - Colour, Figureheads, Cutty Sark vessel and exhibition, Greenwich, England, 6 November 2016
The Long John Silver Collection of Figureheads is displayed alongside the Cutty Sark. It is the largest collection of Merchant Navy figureheads in the world. It was given to Cutty Sark in 1953 by Sydney Cumbers, also known as Captain Long John Silver because of his eye patch. These figure heads come from vessels mostly dating from the 19th century and the collection, like Cutty Sark herself, is dedicated as a memorial to the men of the Merchant Navy. The Cutty Sark was launched on 22 November 1869. She was named by the wife of George Moodie, the ship's first master who had also supervised her construction. Cutty Sark left the Clyde on 13 January 1870. A month and two days later, she set sail from London for China. Cutty sark was designed and built by Scott & Linton of Dumbarton for 16,150 pounds. But much of the money was to be paid by Willis when the ship was launched. Just before they finished her, Scott & Linton ran out of money and went bankrupt. She was completed by William Denny & Brothers. The Cutty Sark was the first ship to reach London with a tea cargo in 1877. But she was one of only nine sailing ships that returned that year - in 1870 there had been 59. Steamships were now dominating the tea trade. In 1883 the Cutty Sark joined the booming trade in transporting Australian wool. Every year until 1895 she set out in the summer for Australia, to load a cargo of wool bales and return to England in time for the wool sales ini the first three months of the new year. Cutty Sark soon established herself as the fastest of the wool clippers. Under her last master, Richard Woodget she set record times of 70 days or less for the voyage which no other sailing ships could match.cutty sark, exhibition, wool, australia, china, sailing, woodget, moodie, london, willis, dumbarton, scott & linton, william denny, tea, cargo, immigration, trade -
Ballarat Heritage Services
Photograph - Colour, Figureheads, Cutty Sark vessel and exhibition, Greenwich, England, 6 November 2016
The Long John Silver Collection of Figureheads is displayed alongside the Cutty Sark. It is the largest collection of Merchant Navy figureheads in the world. It was given to Cutty Sark in 1953 by Sydney Cumbers, also known as Captain Long John Silver because of his eye patch. These figure heads come from vessels mostly dating from the 19th century and the collection, like Cutty Sark herself, is dedicated as a memorial to the men of the Merchant Navy. The Cutty Sark was launched on 22 November 1869. She was named by the wife of George Moodie, the ship's first master who had also supervised her construction. Cutty Sark left the Clyde on 13 January 1870. A month and two days later, she set sail from London for China. Cutty sark was designed and built by Scott & Linton of Dumbarton for 16,150 pounds. But much of the money was to be paid by Willis when the ship was launched. Just before they finished her, Scott & Linton ran out of money and went bankrupt. She was completed by William Denny & Brothers. The Cutty Sark was the first ship to reach London with a tea cargo in 1877. But she was one of only nine sailing ships that returned that year - in 1870 there had been 59. Steamships were now dominating the tea trade. In 1883 the Cutty Sark joined the booming trade in transporting Australian wool. Every year until 1895 she set out in the summer for Australia, to load a cargo of wool bales and return to England in time for the wool sales ini the first three months of the new year. Cutty Sark soon established herself as the fastest of the wool clippers. Under her last master, Richard Woodget she set record times of 70 days or less for the voyage which no other sailing ships could match.cutty sark, exhibition, wool, australia, china, sailing, woodget, moodie, london, willis, dumbarton, scott & linton, william denny, tea, cargo, immigration, trade -
Ballarat Heritage Services
Photograph - Colour, Figureheads, Cutty Sark vessel and exhibition, Greenwich, England, 6 November 2016
The Long John Silver Collection of Figureheads is displayed alongside the Cutty Sark. It is the largest collection of Merchant Navy figureheads in the world. It was given to Cutty Sark in 1953 by Sydney Cumbers, also known as Captain Long John Silver because of his eye patch. These figure heads come from vessels mostly dating from the 19th century and the collection, like Cutty Sark herself, is dedicated as a memorial to the men of the Merchant Navy. The Cutty Sark was launched on 22 November 1869. She was named by the wife of George Moodie, the ship's first master who had also supervised her construction. Cutty Sark left the Clyde on 13 January 1870. A month and two days later, she set sail from London for China. Cutty sark was designed and built by Scott & Linton of Dumbarton for 16,150 pounds. But much of the money was to be paid by Willis when the ship was launched. Just before they finished her, Scott & Linton ran out of money and went bankrupt. She was completed by William Denny & Brothers. The Cutty Sark was the first ship to reach London with a tea cargo in 1877. But she was one of only nine sailing ships that returned that year - in 1870 there had been 59. Steamships were now dominating the tea trade. In 1883 the Cutty Sark joined the booming trade in transporting Australian wool. Every year until 1895 she set out in the summer for Australia, to load a cargo of wool bales and return to England in time for the wool sales ini the first three months of the new year. Cutty Sark soon established herself as the fastest of the wool clippers. Under her last master, Richard Woodget she set record times of 70 days or less for the voyage which no other sailing ships could match.cutty sark, exhibition, wool, australia, china, sailing, woodget, moodie, london, willis, dumbarton, scott & linton, william denny, tea, cargo, immigration, trade, figureheafs -
Ballarat Heritage Services
Photograph - Colour, Figureheads, Cutty Sark vessel and exhibition, Greenwich, England, 6 November 2016
The Long John Silver Collection of Figureheads is displayed alongside the Cutty Sark. It is the largest collection of Merchant Navy figureheads in the world. It was given to Cutty Sark in 1953 by Sydney Cumbers, also known as Captain Long John Silver because of his eye patch. These figure heads come from vessels mostly dating from the 19th century and the collection, like Cutty Sark herself, is dedicated as a memorial to the men of the Merchant Navy. The Cutty Sark was launched on 22 November 1869. She was named by the wife of George Moodie, the ship's first master who had also supervised her construction. Cutty Sark left the Clyde on 13 January 1870. A month and two days later, she set sail from London for China. Cutty sark was designed and built by Scott & Linton of Dumbarton for 16,150 pounds. But much of the money was to be paid by Willis when the ship was launched. Just before they finished her, Scott & Linton ran out of money and went bankrupt. She was completed by William Denny & Brothers. The Cutty Sark was the first ship to reach London with a tea cargo in 1877. But she was one of only nine sailing ships that returned that year - in 1870 there had been 59. Steamships were now dominating the tea trade. In 1883 the Cutty Sark joined the booming trade in transporting Australian wool. Every year until 1895 she set out in the summer for Australia, to load a cargo of wool bales and return to England in time for the wool sales ini the first three months of the new year. Cutty Sark soon established herself as the fastest of the wool clippers. Under her last master, Richard Woodget she set record times of 70 days or less for the voyage which no other sailing ships could match.cutty sark, exhibition, wool, australia, china, sailing, woodget, moodie, london, willis, dumbarton, scott & linton, william denny, tea, cargo, immigration, trade