Showing 482 items
matching display materials
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Tennis Australia
Barrier, Circa 2000
A set of five retractable light bamboo barriers, most likely used to cordon off display areas during the Tennis Heritage Exhibition at Melbourne Park, in 2000, and other Jaeger Foundation exhibitions. Materials: Bamboo, Metaltennis -
Tennis Australia
Oil painting, 1976
Painting: 'Tennis in the Park' on stretched canvas, in bevelled display frame. Signed lower right 'RAYMOND SIPOS-76'. Inscription on back of canvas: 'ALL REPRODUCTION RIGHTS/ ARE RESERVED BY THE /ARTIST/ PAINTING BY/RAYMOND SIPOS/12-15-76'. Has horizontal hanging wire between D-rings. Materials: Oil paint/Pigment, Canvas/Cotton, Metal, Wood, Clothtennis -
Tennis Australia
Token, 1652
A metal token mounted and framed to display both sides, with an information blurb describing the token as an early form of currency used as change by/at a tennis court and inn complex in Oxford, England. Token is personalised to relate specifically to one of the court keepers, a Thomas Wood. Second information sheet enclosed in pocket on backing of frame identifies the token as the "tradesmen's token" of an Oxford Tennis Court keeper. Materials: Ink, Wood, Metal, Cardboard, Glass, Velvet, Paper, Adhesive labeltennis -
Tennis Australia
Poster, Advertisement, Circa 1915
Reproduction of sepia advertising poster for Bosco Morgando & Co. tennis department. Image of large room with tennis equipment displays. Other text: 'LA GRANDE CASA DELLO SPORT' and 'REPARTO TENNIS'. Materials: Ink, Paper, Cardboard, Wood, Glass, Metal, Adhesive labeltennis -
Tennis Australia
Black and white digital print, 1949, Circa 2000
Framed collage featuring a two page letter written by Tilden to 'Bratto' (Arthur Anderson), associated envelope postmarked July 13, 1949, and a reproduction of photograph of Tilden in action during tennis match. Photograph has panel embedded in it featuring signature by Tilden and '1927'. First leaf of letter: obverse displayed next to reproduction of reverse. Second leaf of letter is displayed below, next to envelope used to send letter. Letter mostly discusses Anderson's tennis game and refers to current Davis Cup team. The Anderson's were close friends of Tilden who supported him during a 10 month period of incarceration in 1949. Materials: Paper, Metal, Glass, Cardboard, Photographic emulsion, Lead, Glue, Inktennis -
Tennis Australia
Page from card Album, Circa 1885
Page from an album designed for Allen & Ginther collectible cigarette cards. Features place holder for one card (depicting RD Sears). Framed with galss backing to also display back of card. Text on back of card: 'SECOND SERIES/THE WORLD'S CHAMPIONS/ONE PACKED IN EACH BOX OF 20 RICHMOND STRAIGHT CUT NO.1 CIGARETTES'. Materials: Paper, Ink, Glass, Woodtennis -
Winchelsea and District Historical Society
Lithograph, Prebble & James, circa. 1933
These Lithographs were made for the printing and Publishing of the Book entitled "The History of Winchelsea Shire" by Cr. W.L Koenig who was commissioned by the Shire of Winchelsea to collate, Document and present the Pre-Colonial and Colonial History of the Barwon District and in particular the Winchelsea Shire for posterity and public education. The Book was published including the photographs represented by these lithographs as illustrations, and remains the foundation of the historical narrative of the area, and the context of this collection. This Lithograph is one of four depicting indigenous artefacts collected and displayed by Cr. Koenig. Koenigs collection of indigenous artefacts remain as unique in the Surf Coast Shire as a relic of material culture from the district in Pre-Colonial times. These lithographs remain as significant in themselves being the master copy remaining from the publication of Koenig's work. They are aesthetically beautiful as a work of art, and historically (technologically) important in the narrative of printing.Lithograph for printing a Photograph of a collection of indigenous artefacts for publication in the book "History of the Winchelsea SDhire" By Cr. W.L. Koenig.NILkoenig, lithograph, illustration, printing blocks, picture, book, indigenous, artefact, image, stone tools, winchelsea, wadda wurrung, witharong, wathaurong, wito wurrung, aboriginal -
Winchelsea and District Historical Society
Lithograph, Prebble & James, circa. 1933
These Lithographs were made for the printing and Publishing of the Book entitled "The History of Winchelsea Shire" by Cr. W.L Koenig who was commissioned by the Shire of Winchelsea to collate, Document and present the Pre-Colonial and Colonial History of the Barwon District and in particular the Winchelsea Shire for posterity and public education. The Book was published including the photographs represented by these lithographs as illustrations, and remains the foundation of the historical narrative of the area, and the context of this collection. This Lithograph is one of four depicting indigenous artefacts collected and displayed by Cr. Koenig.Koenigs collection of indigenous artefacts remain as unique in the Surf Coast Shire as a relic of material culture from the district in Pre-Colonial times. These lithographs remain as significant in themselves being the master copy remaining from the publication of Koenig's work. They are aesthetically beautiful as a work of art, and historically (technologically) important in the narrative of printing.Lithograph for printing a Photograph of a collection of indigenous artefacts for publication in the book "History of the Winchelsea Shire" By Cr. W.L. Koenig.NILkoenig, lithograph, illustration, printing blocks, picture, book, indigenous, artefact, image, stone tools, bone, winchelsea, wadda wurrung, witharong, wathaurong, wito wurrung, aboriginal -
University of Melbourne, Burnley Campus Archives
Plan, Alterations and Refurbishment of the Centen nial Display Building, 1990
Specification of workmanship and materials to be used in the construction of: Alterations and Refurbishment of the Centennial Display Building at Victorian College of Agriculture and Horticulture, Burnley for VCAH by Urban Spaces Pty. Ltd., Architects. Includes Plans and Elevations, and Presentation Drawings. Provenance Geoff C(?) 19.08.91. vcah, centennial -
Federation University Art Collection
Sculpture, Thomas, Kylie, 'Cultural Dedication' by Kylie Thomas, 1993
Kylie THOMAS (14 May 1973 - ) Born Creswick, Victoria A graduate of the Bachelor of Arts (Visual Arts) (1993) and Diploma of Visual Arts (1995) from Federation University (then University of Ballarat) Kylie Thomas continued her art practice after studying under distinguished sculptors Peter Blizzard and Adrian Mauriks. This work was acquired from her graduate folio. Soon after completing her studies Kylie Thomas became an artist in residence at Ballarat Grammar School building a public sculpture for the grounds conceived by one of her selected students as part of the program. She became the youngest exhibiting applicant to be awarded the City of Port Phillip, Rupert Bunny Foundation artist in residence program. After moving to Mallacoota she was absorbed into the community as a visual artist, actor, playwright and assistant publicist. Her commissioned public artwork and sculptures as part of residences collections were all lost in the 2019 bushfires that decimated Mallacoota. Moving back to her hometown of Creswick Kylie Thomas completed a Diploma in Education qualifying as a secondary teacher, always continuing her art practice while teaching. Needing to work again, but with no desire to teach, Kylie Thomas studied Building Design and Architectural Drafting, homing in on other areas which could link back to her artistic practice. Working in this field for a short time she moved to Melbourne where she exhibited paintings and sculpture installations as part of The Melbourne Fringe Festival. She also worked in set design, and as a stage manager and theatre actor. 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.This work is a spiritual totem created in the tradition of the bricoleur, dedicated to bygone cultures, lost technology and mystery referencing nature, humanity and technology. Humanity to use technology with and for nature. The materials are symbolic, the use of bone, Perspex, computer parts, found and crafted objects constructed in a resulting harmony creating a symbiotic relationship. Tapping the 4th dimension that could lift off into space and come back again, with a feeling of weightlessness, awe and suspension captured. A sculpture which stands on a white pedestal with perspex cover. 'Cultural Dedication' is the final work in a series of sculptures influenced by the ancient cultures of Egypt. art, artwork, kylie thomas, sculpture, alumni -
Tennis Australia
Racquet & cover, Circa 1980
A Davis Imperial tennis racquet (.1), with vinyl racquet head cover (.2). Racquet features ribbon whipping around shoulders, and a mottled leather handle grip. Davis logo and model name, displayed within banner device extending around the shoulders, feature across base of head. TAD "Kings of the Court" trademark features on lower shaft on obverse. Davis coat-of-arms "Duce virtute comite fortuna" trademark features on lower shaft on reverse. TAD trademarks feature on throat and rubber butt cap. Materials: Wood, Nylon, Ink, Glue, Lacquer, Metal, Ribbon, Leather, Adhesive tape, Rubber, Vinyl, Metaltennis -
Tennis Australia
Photographic print, Circa 1995
Photograph of Geoff Pollard with American dignitaries and U.S. Marines during a ceremony in a tennis stadium. Displayed in a plastic frame. Materials: Photographic emulsion, Papertennis -
Kew Historical Society Inc
Book, Flannel Flower Press, The Federation House: a restoration guide, 1986, 2004
160 p. : ill. (some col. ) ; 29 cm.non-fictionarchitecture -- domestic -- australia -- conservation and restoration, interior decoration -- australia -
Tatura Irrigation & Wartime Camps Museum
Photograph - copy, 1988
Photographed at Exhibition of Camp Memorabilia displayed at Temper Home for Aged, Bayswater, Victoria, in 1981.Colour photograph. Variety of tools made from whatever material one could lay one's hands on. Negative no 20.hand crafts, pow, internment camp, hand tools -
Tatura Irrigation & Wartime Camps Museum
Photograph - copy, 1988 copy
Photographed at Exhibition of Camp memorabilia displayed at Temper Home for Aged, Bayswater, Victoria, in 1981.Colour photograph. "Tatura Silver". Made from jam tins - biscuit cutters, tea pot, funnel shaped beaters used to agitate washing in the coppers. Embroidered table cloth (material supplied by Red Cross). Negative no 17.tin craft, hand craft, embroidery, red cross, pow, camp internees -
Tatura Irrigation & Wartime Camps Museum
Photograph - original, Tatura Museum Restoration, 1991
Tatura Museum extension built mainly of 2nd hand materials and volunteer labour.Colour photograph of Tatura Museum new room for POW's internment camps display. 1990-1991. on back: as abovetatura museum -
Clunes Museum
Letter - COPY OF HAWKEY QUILT & QUILTERS, QUILT MADE BY LATE ELIZABETH HAWKEY, RESTORED BY GOULBURN QUILTERS, 1860'S
THE QUILT WAS LATER PRESENTED TO MUSEUM OF VICTORIA BY GOULBURN VALLEY QUILTER'S GROUP..1 PHOTOCOPY OF GOULBURN VALLEY QUILTERS DISPLAYING QUILT OF ELIZABETH HAWKEY WHICH THEY HAD HELPED RESTORE. ONLY OLD MATERIALS AND THREAD WERE USED IN THE PROCESS .2 LETTER TO MAUREEN HARRIS GIVING HISTORY OF QUILT AND INCLUDES A LETTER FROM NATIONAL QUILTERS REGISTER REGARDING ITS REGISTRATION.local history, handcraft, needlework -
Chiltern Athenaeum Trust
Painting - Oil painting on gumleaf by Alfred William Eustace, circa 1851 to 1907
This gum leaf painting is one of a pair displayed on foil in the same frame. It is typical of many paintings by the self-taught Australian artist Alfred William Eustace (1820-1907). A.W. Eustace, a well-known Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and camped on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skillful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.An oil painting on gum leaf by the well-known Australian artist Alfred William Eustace. He was a self-taught artist during the 19th and early 20th century and a prominent resident of Chiltern. Oil painting on gum leaf by Alfred William Eustace. A scene of a log cabin on Black Dog Creek Road, Chiltern, with Skeleton Hill in the background. The canvas is a juvenile Red Box (Eucalyptus polyanthemos) leaf. It is one of a pair of Eustace gum leaf paintings mounted on gold foil, under glass in a brown frame. Inscription on back. Labels on back: Rehoused by The Centre for Cultural Materials/ Conservation, University of Melbourne "Oil on Gum Leaf"/ by Alfred William Eustace/ Donor:- Cam & Connie Boadle/ Wales U.K. Crescent/ MUSEUM/ GRADE/ 24 OCT 1998/ CONSERVATION BOARD ALBURY/ PICTURE FRAMERS/ Shop 15 & 16/ AMP Lane,/ Albury, 2640/ Ph: 02 6021 7088black dog creek, chiltern, alfred eustace, skeleton hill, gum leaf, painting, eustace -
Nillumbik Shire Council
Artist Book: Tommaso DURANTE (b.1956 ITA, arrived. 2001 AUS) with text by Chris WALLACE-CRABBE (b.1934 AUS), Skin, Surfaces and Shadows, 2007
'Skin, Surfaces and Shadows' was created by Tommaso Durante in 2004 during his stay in Bundanon (gifted to the Australian people by Arthur & Yvonne Boyd - South East Australia) as international artist in residence and it was enriched during the artist’s stay in Broome (Western Australia) in 2005. On that occasion he collected the raw materials that were subsequently wrought to develop the actual bookwork.On the edge of artistic practice and philosophical inspiration, 'Skin, Surfaces and Shadows' pushes the boundaries of art, craft and design by combining digital technologies with traditional techniques and materials. Durante visually explores the surfaces of organic things (trees, surface textures, etc.) and the figurative dividing line of the shadow. The poet Wallace-Crabbe responds to these images in words. The poet and the artist flit in and out of shadows, skin and the surfaces of paper and life.(a) prints, artist's book (80 pages), ink; Somerset Book White paper (175gsm), digital images, printed in eight inkjet colour pigments, from digital files. Set in digital typefaces Utopia STD Display, Italic and Bold, Frutiger 57 Condensed, 67 Bold Condensed, and 56 Italic. Section sewn around 3 tapes. Full paper binding with blind blocking on front cover handmade head and tail bands. (b) CD of slide presentation to accompany bookwork on display Primary Insc: In black biro, signed and editioned by Tommaso Durante and Chris Wallace-Crabbe (last page '8/25 T DURANTE CWallace-Crabbe')prints, artist book, skin, surface, shadow, poetry, durante, wallace-crabbe -
Tatura Irrigation & Wartime Camps Museum
Banner, Afrika Korps Banner, 1941
Captain Robert Ure Bain was Adjutant to Lt. Col. Bush, POW Group Commandant from 1942 - 1947. He was chosen to be one of the Australian Army officers who escorted the German POW's back to Germany in January 1947. A German POW and former member of the Afrika Korps made the item and donated it to Robert.Afrika Korps banners, embroidered, one piece of material. Large hemmed square of white/ cream cotton material embroidered with two unfinished Afrika Korps banners. Line drawn around both, to indicate edge/cutting point/unfinished embroidery point. The photograph show banner 1 which has a palm tree & swastika (emblem of the Afrika Korps). Swastika has been left outlined in pencil but not embroidered, probably so as not to create trouble by displaying the now banned swastika: Banner 2 has red stylised German eagle over the number 8. Also in picture is a model of an aeroplane and a framed coat of arms with Braunschweig (a place in north west Germany otherwise known as Brunswick).Banner 1: Afrika Korps (pink lettering); 1941 (light blue lettering). Banner 2: Zullighau (brown/gold lettering); 4. KOMP / M. G. BATL. (green lettering). (Number 4 company of the Machine Gun Battalion); framed coat of arms "Braunschweig"afrika korps, internment camps, camp 13, garrison, military, handcrafts, embroidery, captain robert bain, german pow's -
University of Melbourne, Burnley Campus Archives
Plan - Plans, Alterations and refurbishment of the Centennial Display Building
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University of Melbourne, Burnley Campus Archives
Work on paper (item) - Student Work, Elise Johnston, Lanscape Construction Portfolio, 2017
Submitted as an assignment in 2017 for HORT90035, Landscape Construction and Graphics, a subject run at Burnley Horticultural College and coordinated by Andrew Laidlaw. andrew laidlaw, assignment, burnley horticultural college, hort90035, landscape construction and graphics, elise johnston -
University of Melbourne, Burnley Campus Archives
Work on paper (item) - Student Work, Laura Batch, Construction Issue Mr and Mrs Campbell, 2018
Was submitted as an assignment at Burnley Horticultural Campus, likely for the subject HORT90035 coordinated by Andrew Laidlaw, as it was found with many other projects carried out for this subject. One of the pockets contained an envelope with a medical certificate for Laura Batch, presumably to get an extension on the assessment. This was disposed of for privacy. -
Clunes Museum
Photograph
GATHERING OF MEN AND WOMEN BEING PHOTOGRAPHED IN CLUNES TOWN HALL.BLACK AND WHITE PHOTOGRAPH MOUNTED ON GREEN MAT BOARD OF GROUP OF PEOPLE IN FRONT OF STAGE AT CLUNES TOWN HALL, LADIES AND GENTLEMEN DRESSED IN THEIR BEST CLOTHES. AUSTRALIAN COAT OF ARMS DISPLAYED. STAGE SWATHED IN OLD LACE AND MATERIAL CURTAINS.On Front: Hornby Clunesphotography, photographs, events and celebrations, town hall, advance australia -
Robin Boyd Foundation
Booklet, Appletree Hill Estate (facsimile), 1965-66
This is a facsimile copy, produced by Masters of Architecture Students at the Melbourne School of Design University of Melbourne, 2017. This feature correspondence, newspaper articles, and other material concerning the development of Appletree Hill Housing Development, Glen Tower Drive, Glen Waverley, 1966. In 1965 Lend Lease Homes commissioned Robin Boyd to design six brick veneer houses. They were built as a display village at Appletree Hill.A facsimile of an booklet to advertise Lend Lease homes designed by Robin Boyd.appletree estate, architecture, domestic architecture, housing estate, walsh st library -
Federation University Art Collection
Ceramic - Artwork - Ceramics, 'Reliquary No. 20' by John O'Loughlin, 2007
John O'LOUGHLIN Born Snowtown, South Australia In 1980 John O'Loughlin's life changed when he started wheel throwing ceramic vessels. During this time he discarded the superfluous and unnecessary clutter collected on the journey of life, yet retaining the essence of what mattered to him. John O’Loughlin's later artworks, such as 'Reliquary No. 20' engages with the way in which organised religion, specifically the Catholic Church, deals with the translation of the spiritual into the material. Informed by his extensive travels and studies, O’Loughlin’s ceramics reference the reliquaries and church artefacts that connect the life of this world with that of faith in another world. Completing undergeduate and post graduate works at Federation University John O'Loughlin's honours thesis was entitled "Ways and Means of Meaning, The Use of Symbol and Surface as Expressive Media in Ceramic Sculpture". The University provided a serious ceramic studio equipped with all the research tools for advanced ceramic exploration. Access to raw materials and a variety of kilns combined with excellent lecturers, mentors and technicians inspired, motivated and challenged him to push his accumulating knowledge to higher levels. O'Loughlin's working method in the studio is one of quiet, determined interaction with clay, idea and content. Experimentation with a variety of temperatures, firing methods and atmospheric conditions has produced a broad tonal and textural palette. He has worked with various clay bodies overlaid with coloured oxides, slips and engobes as the foundation for many of his works. O'Loughlin ufilised raised surfaces from old cemetery tombstones using the impressed forms and textures in his constructions. This research led him to the use of dry engobes to create a sense of antiquity, with crusty and distressed surfaces that resemble objects neglected in the oceans. These objects seem covered with the accretions and accumulations of history when re-discovered and brought to the surface as miraculous objects of mystery and magic. (https://www.thefreelibrary.com/John+O%27Loughlin%3A+a+man+re-invented.-a0216897107, accessed 12 September 2020) 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.Lidded ceramic form.art, artwork, john o'loughlan, ceramics, available, available ceramics -
Federation University Art Collection
Bookplate, 'Ex Libris John Gartner'
John Gartner was a fine printer and publisher, an author, a noted philatelist, and also collector of Australian banknotes and coins. He was born on 16 July 1914 and was largely self-educated, leaving school at fourteen for work following the death of his father. Gartner developed a strong interest in the history of typography and printing and was apprenticed at the Advocate where his father had been a linotype operator. Aged 17, Gartner bought a hand press and some fonts of type, and in 1937 acquired a platen press from which he set and printed his private press books, published under the imprint of The Hawthorn Press. Gartner had a strong collection of Australian bookplates. He also looked at the work of artists overseas and commissioned personal plates. He subsequently built an international collection with preference for artists who printed from wood. His initial searches were in Belgium and Holland.(http://www3.slv.vic.gov.au/latrobejournal/issue/latrobe-84/t1-g-t7.html) The solid shapes of printmaking materials fan out in a pattern around the centrally placed intials J GPencil signature bottom rightprintmaking, bookplate, australian bookplate design award, keith wingrove memorial trust -
Federation University Art Collection
La Perruque, 2018
Laresa KOSLOFF Laresa Kosloff makes performative videos, Super-8 films, hand-drawn animations, sculpture, installations and live performance works, all linked by an interest in the body and its agency within the everyday. Recurrent themes include humour and tension between received cultural values, individual agency and free will. La Perruque won the 2018 Guirguis New Art Prize. ‘Laresa is a worthy winner having been dedicated to her practice over many years and creating a work that is intelligently structured and steeped in satire, epitomising what we all either know or experience at work or in office life. By her clever collaging of characters, editing and story adaptation, Laresa has created an impressive fictional and insightful work that by way of its very construction cleverly illustrates and articulates aspects of Australian culture,’ (Shelley Hinton, Curator Federation University’s Post Office Gallery)A USB and a portable hard drive in a black archival box with a signed certificate. Her short film La Perruque is made entirely out of commercial stock footage, generic material produced for corporate advertising, which is strangely artificial, simplistic and loaded with images of success and productivity. Kosloff uses this footage to tell the tale of an office worker who is secretly trying to write a novel during work hours. The silent footage has been dubbed using voice actors and assembled into a story that subverts commercial representations of office life. The title refers to a French term that translates into 'wearing the wig', used to describe a situation of secretly working on personal projects during work time.guirguis new art prize, video -
Flagstaff Hill Maritime Museum and Village
Book, First Aid At A Glance
This item was donated to Flagstaff Hill Maritime Village by the family of Doctor William Roy Angus, Surgeon and Oculist. It is part of the “W.R. Angus Collection” that includes historical medical equipment, surgical instruments and material once belonging to Dr Edward Ryan and Dr Thomas Francis Ryan, (both of Nhill, Victoria) as well as Dr Angus’ own belongings. The Collection’s history spans the medical practices of the two Doctors Ryan, from 1885-1926 plus that of Dr Angus, up until 1969. ABOUT THE “W.R.ANGUS COLLECTION” Doctor William Roy Angus M.B., B.S., Adel., 1923, F.R.C.S. Edin.,1928 (also known as Dr Roy Angus) was born in Murrumbeena, Victoria in 1901 and lived until 1970. He qualified as a doctor in 1923 at University of Adelaide, was Resident Medical Officer at the Royal Adelaide Hospital in 1924 and for a period was house surgeon to Sir (then Mr.) Henry Simpson Newland. Dr Angus was briefly an Assistant to Dr Riddell of Kapunda, then commenced private practice at Curramulka, Yorke Peninsula, SA, where he was physician, surgeon and chemist. In 1926, he was appointed as new Medical Assistant to Dr Thomas Francis Ryan (T.F. Ryan, or Tom), in Nhill, Victoria, where his experiences included radiology and pharmacy. In 1927 he was Acting House Surgeon in Dr Tom Ryan’s absence. Dr Angus had become engaged to Gladys Forsyth and they decided he further his studies overseas in the UK in 1927. He studied at London University College Hospital and at Edinburgh Royal Infirmary and in 1928, was awarded FRCS (Fellow from the Royal College of Surgeons), Edinburgh. He worked his passage back to Australia as a Ship’s Surgeon on the on the Australian Commonwealth Line’s T.S.S. Largs Bay. Dr Angus married Gladys in 1929, in Ballarat. (They went on to have one son (Graham 1932, born in SA) and two daughters (Helen (died 12/07/1996) and Berenice (Berry), both born at Mira, Nhill According to Berry, her mother Gladys made a lot of their clothes. She was very talented and did some lovely embroidery including lingerie for her trousseau and beautifully handmade baby clothes. Dr Angus was a ‘flying doctor’ for the A.I.M. (Australian Inland Ministry) Aerial Medical Service in 1928. Its first station was in the remote town of Oodnadatta, where Dr Angus was stationed. He was locum tenens there on North-South Railway at 21 Mile Camp. He took up this ‘flying doctor’ position in response to a call from Dr John Flynn; the organisation was later known as the Flying Doctor Service, then the Royal Flying Doctor Service. A lot of his work during this time involved dental surgery also. Between 1928-1932 he was surgeon at the Curramulka Hospital, Yorke Peninsula, South Australia. In 1933 Dr Angus returned to Nhill and purchased a share of the Nelson Street practice and Mira hospital (a 2 bed ward at the Nelson Street Practice) from Dr Les Middleton one of the Middleton Brothers, the current owners of what previously once Dr Tom Ryan’s practice. Dr Tom and his brother had worked as surgeons included eye surgery. Dr Tom Ryan performed many of his operations in the Mira private hospital on his premises. He had been House Surgeon at the Nhill Hospital 1902-1926. Dr Tom Ryan had one of the only two pieces of radiology equipment in Victoria during his practicing years – The Royal Melbourne Hospital had the other one. Over the years Dr Tom Ryan had gradually set up what was effectively a training school for country general-practitioner-surgeons. Each patient was carefully examined, including using the X-ray machine, and any surgery was discussed and planned with Dr Ryan’s assistants several days in advance. Dr Angus gained experience in using the X-ray machine there during his time as assistant to Dr Ryan. When Dr Angus bought into the Nelson Street premises in Nhill he was also appointed as the Nhill Hospital’s Honorary House Surgeon 1933-1938. His practitioner’s plate from his Nhill surgery is now mounted on the doorway to the Port Medical Office at Flagstaff Hill Maritime Village, Warrnambool. When Dr Angus took up practice in the Dr Edward and Dr Tom Ryan’s old premises he obtained their extensive collection of historical medical equipment and materials spanning 1884-1926. A large part of this collection is now on display at the Port Medical Office at Flagstaff Hill Maritime Village in Warrnambool. In 1939 Dr Angus and his family moved to Warrnambool where he purchased “Birchwood,” the 1852 home and medical practice of Dr John Hunter Henderson, at 214 Koroit Street. (This property was sold in1965 to the State Government and is now the site of the Warrnambool Police Station and an ALDI sore is on the land that was once their tennis court). The Angus family was able to afford gardeners, cooks and maids; their home was a popular place for visiting dignitaries to stay whilst visiting Warrnambool. Dr Angus had his own silk worm farm at home in a Mulberry tree. His young daughter used his centrifuge for spinning the silk. Dr Angus was appointed on a part-time basis as Port Medical Officer (Health Officer) in Warrnambool and held this position until the 1940’s when the government no longer required the service of a Port Medical Officer in Warrnambool; he was thus Warrnambool’s last serving Port Medical Officer. (Masters of immigrant ships arriving in port reported incidents of diseases, illness and death and the Port Medical Officer made a decision on whether the ship required Quarantine and for how long, in this way preventing contagious illness from spreading from new immigrants to the residents already in the colony.) Dr Angus was a member of the Australian Medical Association, for 35 years and surgeon at the Warrnambool Base Hospital 1939-1942, He served with the Australian Department of Defence as a Surgeon Captain during WWII 1942-45, in Ballarat, Victoria, and in Bonegilla, N.S.W., completing his service just before the end of the war due to suffering from a heart attack. During his convalescence he carved an intricate and ‘most artistic’ chess set from the material that dentures were made from. He then studied ophthalmology at the Royal Melbourne Eye and Ear Hospital and created cosmetically superior artificial eyes by pioneering using the intrascleral cartilage. Angus received accolades from the Ophthalmological Society of Australasia for this work. He returned to Warrnambool to commence practice as an ophthalmologist, pioneering in artificial eye improvements. He was Honorary Consultant Ophthalmologist to Warrnambool Base Hospital for 31 years. He made monthly visits to Portland as a visiting surgeon, to perform eye surgery. He represented the Victorian South-West subdivision of the Australian Medical Association as its secretary between 1949 and 1956 and as chairman from 1956 to 1958. In 1968 Dr Angus was elected member of Spain’s Barraquer Institute of Barcelona after his research work in Intrasclearal cartilage grafting, becoming one of the few Australian ophthalmologists to receive this honour, and in the following year presented his final paper on Living Intrasclearal Cartilage Implants at the Inaugural Meeting of the Australian College of Ophthalmologists in Melbourne In his personal life Dr Angus was a Presbyterian and treated Sunday as a Sabbath, a day of rest. He would visit 3 or 4 country patients on a Sunday, taking his children along ‘for the ride’ and to visit with him. Sunday evenings he would play the pianola and sing Scottish songs to his family. One of Dr Angus’ patients was Margaret MacKenzie, author of a book on local shipwrecks that she’d seen as an eye witness from the late 1880’s in Peterborough, Victoria. In the early 1950’s Dr Angus, painted a picture of a shipwreck for the cover jacket of Margaret’s book, Shipwrecks and More Shipwrecks. She was blind in later life and her daughter wrote the actual book for her. Dr Angus and his wife Gladys were very involved in Warrnambool’s society with a strong interest in civic affairs. He had an interest in people and the community. They were both involved in the creation of Flagstaff Hill, including the layout of the gardens. After his death (28th March 1970) his family requested his practitioner’s plate, medical instruments and some personal belongings be displayed in the Port Medical Office surgery at Flagstaff Hill Maritime Village, and be called the “W. R. Angus Collection The W.R. Angus Collection is significant for still being located at the site it is connected with, Doctor Angus being the last Port Medical Officer in Warrnambool. The collection of medical instruments and other equipment is culturally significant, being an historical example of medicine, administration, household equipment and clothing from late 19th to mid-20th century. Dr Angus assisted Dr Tom Ryan, a pioneer in the use of X-rays and in ocular surgery. First Aid At A Glance Author: William London Publisher: Angus & Robertson Date: 1939Dr W R Angus The front pastedown paper has the name "Claire Skirron" hand written in lead pencilflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, first aid at a glance, book, william london, w.r. angus -
Flagstaff Hill Maritime Museum and Village
Domestic object - Sewing Machine and case, Joseph Wertheim, late 19th century
Hugo Wertheim (1854-1919), was a merchant and manufacturer and was born on the 12th July 1854 at Lispenhausen, in the German electorate of Hesse-Kassel, son of Meyer Wertheim and his wife Minna, née Heinemann. Hugo reached Melbourne in October 1875. He soon began advertising, from premises at 39 Flinders Lane East, as agent for his father's cousin Joseph Wertheim, a well-established manufacturer of sewing machines. Hugo returned to Germany where he married Joseph Wertheim's daughter Sophie Emilie (1864-1953) on 30 August 1885 at Frankfurt. the couple then came to Melbourne. In a short time, with extensive advertising, Hugo established a substantial business, selling sewing machines, bicycles, pianos and other mechanical devices, under brands such as Wertheim, Electra, Planet, Griffin and Hapsburg. He also mounted elaborate displays at agricultural shows and in 1901 at the Pan American Exposition, Buffalo, United States of America. O. C. Beale worked with him before setting up his own piano business in New South Wales. Hugo continued to own 25 per cent of one of Beale's companies, which became Wertheim's Queensland business. In 1908 Wertheim opened a large, innovative piano factory at Richmond, Melbourne, intending to produce 2000 pianos and player pianos annually, predominantly using Australian materials. In laying the foundation stone, Prime Minister Alfred Deakin observed that “few men with such opportunities for a life of ease would have embarked on such an enterprise” Hugo died of chronic hepatitis on 11 July 1919 at his home at South Yarra, his wife, two daughters and three sons survived him; Herbert Joseph (1886-1972), the eldest, continued the business. Rupert became a share broker and went on to represent Victoria in inter-State tennis in 1913-27 and Australia in Davis Cup matches against Czechoslovakia in 1922. The piano factory closed in 1935, becoming a Heinz food processing plant and in 1955, GTV Channel 9 studios and offices.Early Australians had to be self-reliant in regards to making and mending their clothes and utensils. This sewing machine was one of many items used that exhibit the skill and craftsmanship of the women in these early families. A sewing machine was a necessary part of each home and this item demonstrates how women of the time managed had to become self-reliant in the repair and making of their families clothes to make their household budgets go further.Sewing machine, Wertheim brand “ Syst 182” hand crank operated machine with folding handle, timber case and carry handle. Metal machine is painted black, with remnants of gold, red and green scrolls and floral decoration. Machine has base with inlaid measuring rule across front and 2 holes drilled through the base (perhaps for mounting machine to a bench). Machine tilts open, hinged on one side, after thumb screw is unwound, revealing machine’s workings and serial number. Base has a fitted round, concave, silver metal pin holder with lid that hinges open, and symbol pressed into lid; several pins are inside. Body of machine has brand name transfer across front and oval metal trademark disk on front. Metal sliding covers over footplates have stamped lettering. Timber machine case or cover includes an accessory box with sliding cover and metal hook and eye latch, and inside the box are 23 metal sewing attachments, a disc and a stick of black crayon with maker’s trademark on it paper cover. Workings of machine have seized up. The crayon wrapper has printed on it “For the wonderful Wertheim new family machine made in Germany ‘Syst. 182’”, and the maker’s symbol with “Trademark” beside it. Made for Hugo Wertheim.“WERTHEIM” transfer across front and back of machine body. Cover of pin holder has symbol ‘Wings above a shield’. Maker’s trademark on gold oval disc, “WERTHEIM / FRANCFURT” and picture of a dwarf with a hammer. Left footplate has script “Syst 182”, right footplate has stamp in oval shape “MANUFACTURED IN - - /SPECIALLY FOR / HUGO WERTHEIM” Serial Number “7501”flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, sewing machine, hand crank sewing machine, hugo wertheim, wertheim, clothing manufacturer, sewing, syst 182