The construction of Clover Power Station was commenced in October 1942 and the power station building was completed in May, 1943. The first machine was placed in service August, 1944 and the second machine in May, 1945. The water discharges directly into Clover Dam and re-used in West Kiewa Station. Clover Dam - stripping of foundation area commenced in January 1948 but the final concrete pour was not until 14th August, 1954.Pictorial history of the early construction undertaken in the building of the Kiewa Hydro Electric Scheme. Clover power station (No. 3 Development) was the first power station to be built .5 small black and white photographsPhoto No. 1 - handwritten in ink on back ' No. 3 Power Station Clover Flat Nov. 1948 Photo No. 2 - handwritten in ink on back 'No. 3 Power Station Clover Flat Nov. 1948 Photo No. 3- handwritten in ink 'Clover Flat looking towards work area of Clover Dam. Taken near #3 PS. Nov. 1948 Photo No 4 - Handwritten in ink 'Preparation for wall of Clover Dam Dec. 1948 Photo No.5 - handwritten in ink 'Preparation for wall o f Clover Dam Dec. 1948. Photo Nos. 1,2 3, on the back have circular stamp with 'Print by Willson White Albury'. In pencil is the number '78'. Photo Nos. 4, 5, have written on the back in pencil, number '14'. construction, clover power station, clover dam,

This gravy boat would have been used to serve gravy or sauce, which could be poured over the meats by the diners, at the table. This gravy boat was produced by Pinnox and Unicorn, 'Wedgwood & Co Ltd', which was headed by Enoch Wedgwood, and was based in Tunstall, Stoke-on-Trent, England. This company is often confused with 'Wedgwood' which belonged to Josiah Wedgwood. The printed mark on the bottom of the boat indicates the boat is C1908+Small, rounded white ceramic gravy boat with black geometric, and gold floral pattern around rim. Gold gilt highlights on base and top rim and decorative handle. On base: Crown with 'Wedgwood & Co Ltd" Handpainted: 'v1'china, wedgwood, amess house

To use this foundation mould, melted beeswax was poured , the lid was placed on top, and the wax allowed to cool. The mould was then separated, and the beeswax foundation sheet taken out. Once placed in a hive, bees used the honeycomb impression created by the mould to draw out honey comb cells to store honey and polen. This mould was used by Bill Voigt, a beekeeping friend of the Robinson family. It was donated by Wilma, Val and Richard Voigt.This is antique equipment used by known beekeepers. Rectangular box with base and no lid. Constructed from wood, joined with metal nails in the corners. Inside box is a metal mould base with hexagonal imprint and metal mould lid with hexagonal imprint.antique, old, wax, foundation, mould, beechworth honey, voigt, robinson

These bottles were common in the late 1800's and 1900's. Bottle Nos 1 and 2 were made by Angus & Co, a Sydney company producing ink and gums (glue and clag) from about 1880 to 1920. Their products were sold in stoneware and glass containers in varying sizes. 1. Small pottery bottle referred to as a "Penny Ink" bottle, made by Angus & Co. The small bottle got its name because of the price of 1d. = 1 penny. This bottle is missing. Nos. 3 and 4 The two tall thin Erven Lucas bottles with handles at the top were usually referred to as "Dutch Gins". In fact they actually contained "'Seltzer Spa water' or a form of Quinine Tonic, both supposed to be health drinks. These types of bottles first arrived in Australia with the Gold-seekers from Europe. Early samples are somewhat crudely made. The potter would have formed the bottle with a young apprentice applying the handle, name stamp and the glaze prior to being fired in the kiln. There is evidence of fingerprints from these processes on both samples.A collection of five handmade rare stoneware bottles with a salt glaze: 1. Small pottery bottle referred to as a "Penny Ink" bottle, made by Angus & Co. The small bottle got its name because of the price of 1d. = 1 penny. This is missing. 2. Medium glazed brown pottery bottle with a pouring spout (Angus & Co Ink Commercial). 3. Medium glazed brown pottery bottle with a pouring spout (Bourne Denby). 4. Large glazed brown pottery bottle with a pouring spout (Bourne Denby). Sample is from England probably sold for 2/- or 2/6d. Two shillings or two shillings & sixpence. 5. and 6. Two tall thin brown pottery bottles, one with a broken cork stopper and one without a stopper with Erven Lucas Bols - Het Lootsje Amsterdam stamped at the top of both. They were usually referred to as "Dutch Gins". 6. Green/black bottle is a traditional Dutch Gin with tapering sides, which made it easy to remove from the mold after being blown by hand and the cork top was applied by an apprentice. This sample dates from approximately 1900. Earlier samples are very crude with later samples being machine made with embossing.(This bottle is missing, 13.10.2022). 2. 'Angus & Co Ink Commercial' 3 and 4. 'Bourne Denby' stamped inside an oval lined shape. 5. and 6.Erven Lucas Bols - Het Lootsje Amsterdambeverage bottles, bottles, storage containers, stoneware bottles

This piece of music is the varsoviana dance piece from the Giacomo Meyerbeer opera, ‘L’Etoile Du Nord’ arranged by Camille Michel. The varsoviana was a slow graceful dance originating in Poland in 1850 and appearing in Australia in 1856. ‘L’Etoile Du Nord’ was a comic opera in three acts composed by Giacomo Meyerbeer in 1854. Meyerbeer was the most successful stage composer of the 19th century but his works are rarely performed today. Camille Michel was an editor, composer, author and arranger working from the 1840s to the 1880s. The varsoviana music arrangement probably dates from the late 1850s or 1860s. It is not clear who ‘Minnie Henty’ was but it is most likely that she was Minnie Adair who married George Henty, the son of Stephen and Jane Henty, pioneer settlers in Western VictoriaThis sheet music is most important mainly because of the ‘Minnie Henty’ signature. The Henty family members, founders of the first permanent Victorian settlement at Portland, were influential in the history of the Warrnambool area because of their connections with surrounding properties and with coastal shipping. The music also has social significance as an example of music popular in 19th century drawing rooms.This is a two-page piece of sheet music (cover and two pages of music notation) with the material printed in black on cream paper. The back cover is blank and the front cover has the title and names of the composer and the arranger with ornate scrolls around the printing. The edges and fold of the pages are much tattered and torn in some places. There is also a Warrnambool and District Historical Society stamp on the front cover and the signature of Minnie Henty. Front Cover: ‘Minnie Henty’ ‘Varsoviana sur L’Etoile Du Nord de G. Meyerbeer pour le piano par Camille Michel, Ent.Sta.Hall., Price 1s/-, London, Cramer, Beale & Co., 201,Regent Street & 67, Conduit Street and at 167, North Street, Brighton.’ henty family, giacomo meyerbeer, camille michel

Coloured slide transparency. Image is of a male dressed in a white coat, with a shirt, tie and vest underneath. He is standing with a glass beaker containing a dark liquid in his hand. He is pouring the liquid into a large glass vessel on the bench. There are several glass containers on a shelf above the bench. The words Organic lab McCrae St Peter Ellis making up Carboy Km nOKodachrome Transparencyslide, bendigo, bendigo institute of technology

Series of 4 black and white photographs of the construction of three tracks or roads at East Preston Depot 7/1955. .1 - Mud mining - earthworks with the Stately Shoe and Wall Bros buildings in the view. .2 - showing one track complete with a second underway, .3 - two tracks complete with a third just in the view. .4 - pouring concrete at the depot - bicycle shed?trams, tramways, east preston, construction, trackwork, tram depot, track materials

This candle mould was used in the past to make six candles. Molten wax or tallow, together with a central thread or cotton, were poured into the columns and when set were removed from the moulds. Until the advent of electricity in the 1920s in Warrnambool, candles, lanterns and lamps were an important source of lighting in homes. Few homes had gas lighting. Many householders made their own candles from waste fat etc. This mould is retained as an example of the way householders in the past made their own candles to assist lighting in the home. This is a mould with a rectangular base and six cylindrical hollow columns with pointed ends affixed to the mould base. The columns are topped by a rectangular metal tray with the openings of the columns in the base of the tray. There is a metal clip attached to one end of the tray. The mould is very rusty warrnambool history, candles

Iron beds made from metal or wrought iron have been around since the late 18th century when they were hand made by craftsmen and artisans. The iron castings were always hand poured and originated from sand cast molds, more ornate beds are associated with the Victorian period. Later in the Edwardian era cast iron beds and cots had much less decoration and were quite plain .An relatively early domestic piece of furniture used as a babies cot giving a snapshot into domestic life around the end of the 19th century and beginning of the 20th. The item is not associated with a significant event, person or place and would have been common place in most homes of the time made by many different manufactures.Cot, metal, with chrome knobs and removable sides. Has wheelsNoneflagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, cot, metal cot, iron bed

The milk separator used centrifugal force to separate the cream and milk. A wooden crank handle would have been attached to the side of the machine (where the handle attached can be seen on the right-hand side). The milk was poured into the bowl on the top and the handle had to then be turned fast enough to get the separator up to speed adequate to separate the cream and the milk. The milk would come out of one spigot and the cream out of the other. Silver bowl with red base; some suface rustchurchill island, farm machinery, dairy equipment, milk, cream, separator, hand operated

This glass milk bottle was manufactured and used mid to late 1900's (1834 Victorian dairy industry was founded) up to the time that a cheaper container was invented(plastic bottles and polyethylene plastic lined cardboard cartons) and produced. In 1909 the supply of pure bottled milk was required for babies to overcome infant mortality due to unhygienic milk sources (unclean containers and unpasteurized milk). Due to the volume of milk being processed and hand milking could not keep up with demand, dairy farms introduced milking machines in the late 1930's. The great increases in dairy herds from the average of 18 cows per heard in 1950's to 142 cows per herd in 1996 required milk tankers to pick up the regions milk supply. This bottle was so constructed to be easily moved within the milk processing plants from the delivery vats/holding tanks to the final corking/sealing of the bottles for eventual distribution. From 1958 the milk bottle slowly became phased out of production. At this point in time Melbourne was drawing 160,000 bottles per week from the two major glass bottle works companies, e.g. Melbourne Glass Bottle Works Co. Victoria was the major state supplier of cows milk in the history of Australian milk production from the early 1800's. The Kiewa Valley and its region was a major contributor to meet that demand. Each bottle was "branded" during manufacturing to show the contents (pasteurized milk) and where it originated from (region and supplier). This method of recycling the bottles back to specific dairy farms was a good control method but an uneconomical "on cost" which was replaced by the "throw away" less costly plastic and cardboard containers. Kiewa Valley dairy herds had marked bottles bearing "90/9", "6/18", "6/33", "6/35" and "6/36" This heavy gauged glass milk bottle has a rim and a distinctive head at the top. This head has been manufactured to facilitate the movement of the bottled along the milk production line. The method of pouring milk into the bottle has been part of the "production line". This bottle has a one pint capacity and is made from "clear" glass. There are other milk bottles that have a "green" tint in them.Around the bottom side of the bottle and blown into the glass "ONE PINT" and on the opposite side "MILK". Below these markings is "This BOTTLE BELONGS TO MILK BOTTLES RECOVERY LTD" below this "AND CANNOT BE USED WITHOUT WRITTEN PERMISSION. On the base of the bottle is molded a big "M". An identification mark of "90" over "9" is beneath the "M". glass bottles, commercial milk containers, domestic milk bottles, pasteurized milk bottles, milk, dairy, farms, kiewa valley

This glass milk bottle was manufactured and used mid to late 1900's (1834 Victorian dairy industry was founded) up to the time that a cheaper container was invented(plastic bottles and polyethylene plastic lined cardboard cartons) and produced. In 1909 the supply of pure bottled milk was required for babies to overcome infant mortality due to unhygienic milk sources (unclean containers and unpasteurized milk). Due to the volume of milk being processed and hand milking could not keep up with demand, dairy farms introduced milking machines in the late 1930's. The great increases in dairy herds from the average of 18 cows per heard in 1950's to 142 cows per herd in 1996 required milk tankers to pick up the regions milk supply. This bottle was so constructed to be easily moved within the milk processing plants from the delivery vats/holding tanks to the final corking/sealing of the bottles for eventual distribution. From 1958 the milk bottle slowly became phased out of production. At this point in time Melbourne was drawing 160,000 bottles per week from the two major glass bottle works companies, e.g. Melbourne Glass Bottle Works Co. Victoria was the major state supplier of cows milk in the history of Australian milk production from the early 1800's. The Kiewa Valley and its region was a major contributor to meet that demand. Each bottle was "branded" during manufacturing to show the contents (pasteurized milk) and where it originated from (region and supplier). This method of recycling the bottles back to specific dairy farms was a good control method but an uneconomical "on cost" which was replaced by the "throw away" less costly plastic and cardboard containers. Kiewa Valley dairy herds had marked bottles bearing "90/9", "6/18", "6/33", "6/35" and "6/36" This particular one has "7/14".This heavy gauged glass milk bottle has a rim and a distinctive head at the top. This head has been manufactured to facilitate the movement of the bottled along the milk production line. The method of pouring milk into the bottle has been part of the "production line". This bottle has a one Imperial pint capacity and is made from "clear" glass. There are other milk bottles that have a "green" tint in them. Around the bottom side of the bottle and blown into the glass "ONE IMPERIAL PINT". Below these markings and stenciled is "KIEWA" (in freehand style and underlined) underneath is "PASTEURISED FULL CREAM MILK" underneath this ,in freehand stiyle is "USE" next to this in block style "KIEWA BUTTER, CREAM, AND ICE CREAM MIX" to the left of this ,and barely readable is stenciled "THIS BOTTLE ALWAYS REMAINS/ THE PROPERTY OF/ NORTH EASTERN DAIRY Co. Ltd". On the base of the bottle is molded a big "2". with a smaller "m". An identification mark of "7" over "14" is within a circled boundary. Below this is moulded "RM - 15". glass bottles, commercial milk containers, domestic milk bottles, pasteurized milk bottles

Robert and Ada Zull built an Alistair Knox designed house at 2 (lot 8) Metery Road, Eltham, a one acre property for their family of five in the mid 1960s. Concrete footings are poured. The house had a concrete floor. Susan Bennett, nee Zull's reminiscences are published in EDHS Newsletter, February and April 2020. ".. the block was big.. Building the house was slow going. The plans had to be discussed, then drawn up, finance found, council permits obtained and labourers engaged. " This series of photographs together with the account of personal remiscences provide a unique document of the construction of an Alistair Knox designed home. Knox was a pioneer in the use of mudbricks and recycled materials and is significant to his contribution of this style of architecture in Eltham and the wider Shire of Nillumbik.zull family, eltham south, 2 metery road, alistair knox, bow and arrow, footings, concrete, concrete mixer

Used domestically, though any extra butter would have been sold to neighbours. Many families kept a cow or two for milk etc. Cream needed to be at least 2 days old - the thicker the better. The handle was turned until the cream turned to butter,the whey was poured off and the butter washed in cold water until the water ran clear. Generally salt and bicarbonate of soda were added. Two pats were used to form butter into 1lb lots.This was used by Mrs (1890-1980) Carl Wehner who was the son of the blacksmith Herman Wehner. Wehner's Blacksmith's was founded at Orbost in 1889.Wooden "Cherry" butter churn with wood and metal turning handle. It has a detachable wooden lid.Front - E. Cherry - improve maker patent, Gisborne stencilled 0 Bottom - stencilled 0 On top of lid handle - 49260butter-churn domestic-items food-preparation wehner-hermann

Early miners at work caption reads: "The large bucket, called kibble, is used to pull up the unwanted debris, the smaller iron buckets are used to raise the alluvial material containing gold. This material is mixed with water in the puddling barrells (foreground) and poured into the cradle (left). The rocking motion causes the gold specks to sink to the bottom from where it is collected. The remaining material may then be hand washed in the gold pan held by the miner." This photograph possibly taken at Diamond Creek.From the John Davidson collection.Photograph in black plastic frame with typed caption on matte.john davidson, diamond creek, gold miners, mines and mining

Excavated from the back yard of Linton & District Historical Society's resource centre in October 2001.Square, green glass jar with pouring lip. The jar formed part of an early type of electric battery. The battery cell consisted of a jar which held carbon and zinc plates, standing in a solution of ammonium chloride. The chemical reaction between the plates and the solution produced a small electrical charge. This type of battery was used where only a small charge was required, for example in telegraphy, also to operate doorbells etc.In raised glass on side of jar: "PILE" and "Leclanche Indiarubber Co Silvertown".batteries, battery cell jars, electricity generation, leclanche [company]

Ian SPRAGUE (1920 - 18 April 1994) Born Geelong, Victoria Ian Broun Sprague's initial training was in Architecture, completing a degree at the University of Melbourne in 1950. After a serious car accident in England, Sprague was encouraged to take up a craft to restore the strength in his arms. He studied at the Central School of Arts and Crafts, London for three years, and spent two months at the David Leach Pottery in Devon, before returning to Australia in 1962. In 1964 Ian Sprague established the Craft Centre in Toorak Road, South Yarra, and the Mungeribar Pottery in Upper Beaconsfield, with Robin Welch, Mungeribar being an Aboriginal word meaning 'red clay'. In 1981, he moved to Mooney-Mooney, NSW (Mungeribar was gutted by bushfires shortly after he left), and to Noosa in 1992. The Mungeribar Pottery mark is an impressed 'm', and Sprague's own mark is an impressed 'IS' with the S rendered in Morse code. Ian Sprague's Mungeribar apprentices were Grattan Burley, Victor Greenaway (1969–73), Christopher Sanders (1976-78}, Trevor Hanby (1978–80). In 1981, he moved to Mooney-Mooney, NSW , and Noosa in 1992. Greenaway's mark in his Mungeribar years was an impressed capital G. Grattan Burley (for six months), The Craft Centre in South Yarra was owned and stocked entirely by Ian Sprague, and he travelled all over Australia in search of the best possible textiles, glassware, woodwork and jewellery, not just pottery. The opening exhibition showed the pottery of Robin Welch. Sprague sold the Centre in 1967, but soon started a campaign for a government funded centre, eventually established as the Meat Market Craft Centre in North Melbourne. In 1971 Sprague became president of the recently created Craft Association of Victoria. Dismayed by the quality of teaching in art schools and technical colleges, he ran many workshops around the country on the textural treatment of clay. This work is part of the Jan Feder Memorial Ceramics Collection. Jan Feder was an alumna of the Gippsland Campus who studied ceramics on the campus. She passed away in the mid 1980s. Her student peers raised funds to buy ceramic works in her memory. They bought works from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught there.Contemporary ArtTexture fire clay slab and partly glazed wall panel. Ian Sprague produced his hand modeleed wall panels by cutting them from fireclay blocks, heating and scraping them, and applying bold simplified motifs. A strong solution of salted wated was poured onto the rugged clay surfaceswhich produced a warm toasted surface effect. The panels show a clear understanding of the modulation of two dimensional relief sculpture. Artists stamp on lower RH cornerceramics, ian sprague, gippsland campus, jan feder memorial ceramics collection, mungeribar, meat markery craft centre, craft centre south yarra

The magazine was started in 1933 by Frank Packer as a weekly publication. The first editor was George Warnecke and the initial dummy was laid out by WEP (William Edwin Pidgeon) who went on to do many famous covers over the next 25 years. It is the most widely read magazine in the history of Australian publishing. During wartime despite printing restrictions, and it began publishing coloured photographic covers.This is an example of anAustralian women's magazine published during WW11.It gives practical advice on needlework / knitting and evidences the widespread interest in contemporary fashion. In doing so it shows what were the fashionable, but broadly affordable, women's and children's clothing styles of their day. These magazines also reflect women's interests.A 32 pp magazine, titled The Australian Women's Weekly. On the front cover is a coloured drawing of a man and a woman sitting under a tree. The woman is pouring tea from a billy into the tin cup held by the man. A tethered horse is grazing to their right and a small brown and white dog is in the foreground. This illustration is signed WEP (William Edwin Pidgeon). The magazine contains advertisements, stories and recipes.The special 4 page peace supplement is missing from the centre.In handrwitten pencil on the front cover - Gibbs.australian-women's-weekly magazine-ww11

Historical: Tobacco farming began circa 1960 in the Kiewa Valley and consequently became one of its major industries. Many of the Italian families were involved in tobacco farming. Historical: This equipment was used on one of the first tobacco farms in the Kiewa Valley at Glenns Creek, Mongans Bridge. The can was home-made showing the resourcefulness of farmers living in the Kiewa Valley. Provenance: This tobacco farmer came from Italy and was sponsored to visit a tobacco farmer in Mytleford to learn how to grow tobacco so that he could transfer those skills to his own farm in the Kiewa Valley. Used for pouring Benzol into special long flat troughs in seed beds. Rusty tin rectangular can with handle on 1 side, opposite side has a spout coming from the bottom of the can reaching out higher than the can and held in place by a flat piece of tin jutting out from the can. At the top there is a screw opening with a lid and a handle both on one half of the top and on the other half an opening has been cut.tobacco, kiewa valley, mongans bridge, glenn creek, handmade can. benzol. aurora. silvano rossaro.

Black and white image mounted on cream board : image shows group of men, women and children, picnicking in bushland. People are standing, sitting in front of a rectangular white tablecloth on which are placed four bottles of champagne, some with bush cuttings in them. One man is pouring a glass of beer ? For another man . Appears to be same group as in 3801. Picnic at Ravenswood ? Stamped on back of board ' W.H. Robinson, photography, Mundy St., Bendigo.W.H. Robinson, Bendigocottage, miners, bendigo, bush picnic, ravenswood. photographer, w. h. robinson, photography, mundy street, bendigo.

Dr. Joseph Clover (1825-1882), an English physician, first described his Portable Regulating Ether Inhaler on Jan. 20, 1877. Clover was an especially sought after anesthesiologist and early pioneer in the specialty. This was the best-known of many inhalers that Clover designed. The dome-shaped reservoir was turned to points on a control dial to gradually increase or decrease the percentage of the air that passed over the ether. Several inventors based new inhalers on this, while the original continued to be manufactured as late as the beginning of WWII. (Source: Wood Library Museum)Black round topped box with brass hooks at front and brass hinges at rear. There is a black fabric handle on the top. Inside the box is black padding with the manufacturer's logo printed in gold leaf. There is a square section in the base of the box for holding the square clear glass bottle for ether. There is also a dome-shaped metal inhaler with a "whistle tip" type connection to the mask. The mask is made of tan leather. There is also a metal ether measure for pouring the ether.Printed in gold leaf inside lid of box: MAYER & MELTZER [?] PORTLAND ST. / MAKERS •Engraved on side of inhaler: Mayer & Meltzer / London •Stamped on connector of inhaler: MAYER & MELTZER RN NO 212327 •Engraved on rear of inhaler: Clover's Inhaler •Printed in white on blue sticker: O.2.5A •Measurements have been stamped on the bottom of the inhaler. •Printed in black ink on mask: MADE IN ENGLAND •Stamped on metal connector inside mask: 6 •Printed in black ink on white manufacturer's label on glass bottle: ETHER PURUS '720 / H. Francis & Co., Melbourne.clover, joseph, mollison, crawford henry, george bankin, mccaul, kevin, royal women's hospital, coroner, freemason, surgeon, gynaecologist, obstetrician, mayer & meltzer, francis & co, melbourne, ether purus

In the early days of flying in France, Armand Deperdussin and his aircraft designer, M. Bechereau, formed the Societe Pour Appareils Deperdussin, and designed and produced Deperdussin monoplanes of advanced design for the period. In 1912, the Australian Government ordered from the British Deperdussin Aeroplane Company, two single-seat trainers, Type A with 35hp Anzani Y-type three cylinder engine. These two aircraft were in the first batch of four aircraft ordered by the Commonwealth Government (the other two aircraft were BE-type biplanes). The recorded cost of the Deperdussin was 480 pounds each. The serial number CFS 5 identifies this aircraft as the 5th Australian Military aircraft. It is the oldest existing Australian aircraft. either military or civilian. Rectangular shaped glass covered picture frame with photo of the plane and pilot.RAAF AIRCRAFT 1921-1981. FIRST FOREBEAR The 1912 Deperdussin was the first military monoplane ordered for the RAAFs ancestor, the Central Flying School, Point cook.This historic aircraft is retained at the Australian War Memorial as a symbol of the nation's airpower genesis.deperdussin monoplane, australian military aircraft, lara r.s.l. australian flying corps, 1912 aircraft.

A machine fitted with sharp blades, for mashing, crushing or liquefying food ingredients. i.e vitamizing. The jug, made of glass, steel, aluminium or plastic, contains rotor blades that engage with a bit protruding from the base containing an electric motor. When activated by the switch on the base the sharp rotor blades chop, mix , mince, pulverize the ingredients in the jug . The degree of mince depends on the time the motor is running. The jug is easily removed from the base to pour the mixed ingredients where needed and the rotors are safely and easily cleaned by rinsing under water.c1940, an electric, 'Vulcan' Vitamizer, with the original cloth covered flex and bake-lite lever switch at front of the cream bake-lite base . The jug- shaped chrome blender has a red, thick, rubber lid. Front: : Vulcan / LM1 Base ; VULCAN / TYPE LM1 / Patent Pending Design / Volts 220 Amps 8vitamizer, food preparation, cooking, vulcan pty ltd australia, moorabbin, bentleigh, cheltenham, ormond, housekeeping

Teaspoons of Loose Leaf Tea are placed in the china or earrthenware teapot then boiling water is added with the lid replaced an infusion occurs. Holding the handle the hot drink is poured from the spout through a strainer into a cup, mug or pannekin and milk, sugar or lemon may be added This drink was very popular with early settlers in Moorabbin Shire. The Temperance Society built a Tea Palace in Mentone - now Kilbreda College. The tea leaf was imported from Sri Lanka (Ceylon) and stored in tall silos in Melbourne where it was packaged and delivered to grocery stores.The early settlers in Moorabbin Shire enjoyed a well brewed pot of tea several times during the day.An opaque white china teapottea leaf, teapot, china crockery, earthenware, tea palaces, mentone, bentleigh, moorabbin shire, cheltenham, ceylon, temperance society, billy tea,

This is a large metal framework covered in gauze, the whole mask completely enclosing the patient's face excluding any possibility of carbon dioxide being excreted. This object was found in the possession of the Italian Army in Libya in 1940, and donated to the museum by Dr Geoffrey Kaye. Gustave Julliard, of Geneva, after a death from chloroform had occurred in his practice, abandoned the use of that anaesthetic and adopted ether. He administered it from a large, wire frame, the outside of which was covered with waxed cloth to make it impermeable to air, the inside with surgical gauze on to which the ether was poured. Large metal wire frame mask, covered in waxed paper, with gauze wrapped around the rim to prevent ether leaking out, effectively forming a rebreathing apparatus.ether, carbon dioxide, italian army, libya, 1940

Bogong Hotel at Tawonga. See KVHS 0965, KVHS 0991 - KVHS 0993 inclusive.Bogong Hotel an important social icon for Kiewa Valley farmers, visitors, and KHES workers. The Bogong Hotel was 125 years old when it was burnt down in December 2011.1. 2 small china cups- white with black and green lines around the top and 'Bogong Hotel' logo 2. 2. glass cups with a handle. Glass is smooth on outside and has vertical 'waves' on inside 3. 1 small glass jug with handle and pouring lip. It has 5 rings of embossed glass around it 4. 1 burnt fire valve handle - T shaped for attaching to a surface 5. burnt bottle topbogong hotel, tawonga, crockery, fire at bogong hotel

This crucible was raised from the wreck of the LOCH ARD. It is one of six similar relics, in a range of sizes, now in the Flagstaff Hill collection. All bear markings to indicate their manufacture by the Morgan brothers of Battersea, trading as the Patent Plumbago Crucible Co. A crucible is a container used for purifying and melting metals so that they can be cast in a mould to a predetermined shape and use. They must withstand extremely high temperatures, abrupt cooling, and shed their contents with minimal adherence. The addition of graphite to the traditional firing clays greatly enhanced the durability of industrial crucibles in mid-Victorian Britain, a significant technological advance at a time of great activity and expansion in foundries and demand for refined metals. The Morgans first noticed the advantages of graphite crucibles at the Great Exhibition held in London in 1851. Initially they contracted to be sole selling agents for the American-made products of Joseph Dixon and Co. from New Jersey, but in 1856 they obtained that firm’s manufacturing rights and began producing their own graphite crucibles from the South London site. The Morgans imported crystalline graphite in 4-5 cwt casks from the British colony of Ceylon (now Sri Lanka) and mixed it with conventional English (Stourbridge) clays to be fired in kilns. Their products were purchased by the Royal Mints in London and India, and exported to official mints in France and Germany. They were successful exhibitors of their crucibles and furnaces at the London Exhibition held in 1861 (Class 1, Mining, quarrying, metallurgy and mineral products, Exhibit 265, Patent Plumbago Crucible Co). The range of sizes represented by the six crucibles retrieved from the LOCH ARD, suggest they may have been part of a sample shipment intended for similar promotion in the Australian colonies ― at Melbourne’s International Exhibition to be held in 1880. A summary of the LOCH ARD cargo manifest, by Don Charlwood in ‘Wrecks and Reputations’ does not mention any crucibles, implying that they were not part of a larger consignment of uniform items. A newspaper account of an 1864 tour of the Morgan brothers’ ‘Black Potteries’ at Battersea indicates: “All the pots were numbered according to their contents, each number standing for one kilogram, or a little over two pounds; a No. 2 crucible contains two kilogrammes; a No. 3, three kilogrammes, and so on.” These numbers are obscured by marine sediment on three of the crucibles in the Flagstaff Hill collection, but those legible on the remaining three are 5, 6, and 8. None of the six are of the same size from a visual appraisal. The shipwreck of the LOCH ARD is of State significance ― Victorian Heritage Register S417A No. 6 size Morgan’s graphite crucible (i.e. 6kgs capacity). The crucible rises in a slight curve from a smaller flat base up to a wider top with a (chipped) pouring lip. It was recovered from the wreck of the LOCH ARD. The artefact is largely accretion free despite its long period of submersion at the wreck site. It has a number of visible maker’s markings which identify the manufacturer and the smelting capacity of the pot. The graphite crucible is in fair and stable condition. The number “6” which is framed in a square. The letters “THE PATENT PLUMBAGO CRUCIBLE COMPANY” and “BATTERSEA WORKS COMPANY”. Below rim "... GNS"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, graphite crucible, plumbago crucible, morgan's crucible company, loch ard, crucible, fluxing pot

Newspaper article from 'Bendigo Advertiser' supplement 11th December, 1968. Article is titled 'Queen of the Shamrock' and tells the story of Joyce Smith, licensee of the Shamrock Hotel who was known as 'Diamond Lil'. She was 'known for wearing 10 diamond rings on her fingers ... and not as well known perhaps for her charity' Photo from same article, attached behind text article, shows Joyce pouring a beer behind the 'Golden Bar' at the Shamrock Hotel.person, bendigo, joyce smith (diamond lil')

Robert and Ada Zull built an Alistair Knox designed house at 2 (lot 8) Metery Road, Eltham, a one acre property for their family of five in the mid 1960s. This series of photographs show the bush block before construction, concrete footings and base being poured and the timber frame takes shape. The house had a concrete floor. Susan Bennett, nee Zull's reminiscences are published in EDHS Newsletter, February and April 2020. ".. the block was big.. Building the house was slow going. The plans had to be discussed, then drawn up, finance found, council permits obtained and labourers engaged. "This series of photographs together with the account of personal remiscences provide a unique document of the construction of an Alistair Knox designed home. Knox was a pioneer in the use of mudbricks and recycled materials and is significant to his contribution of this style of architecture in Eltham and the wider Shire of Nillumbik.zull family, eltham south, 2 metery road, alistair knox, footings, concrete, concrete mixer, frame, bush block, fj holden standard sedan

Stripping of the foundations commenced in 1948 and the first concrete in the dam was poured in May, 1949. With the suspension for the winter months of work on the High Plains, it was possible to increase the number of men, and work then proceeded at a steady pace for the remainder of the year. Some interruption was caused by a flood in September, which over topped the rockfill coffer dam. By the end of 1950 17,000 yards of material had been excavated from the foundations and 4,000 cubic yard of concrete placed. Work at Clover Dam was completed in 1953, but two bays were left open for flood emergency. The pondage was filled on the 16th August, 1954. A pictorial record of the placing of concrete foundations of Clover Dam and also shows the methods of construction used at this site in 1949.Black and white photograph taken during the construction of Clover Dam. Shows early stages of the concrete foundations, cranes and the railway line which was constructed to bring materials to the site. Handwritten in blue ink of back of photograph "Clover Dam Foundations"dam, foundations, concrete, construction