Perpetual Calendar from LH Abbott & Co. Dark Brown Cardboard with stippled finish. Gold Lettering. Symmetrical vase shape with a stand of black cardboard attached on the back. it has a small brass eyelet at the top to hang the item On the left hand side is a thermometer attached by small rivetts (10cm by 3cm) To it's right is a gold coloured tin frame (7cm by 5.5cm) In the frame sits light blue cardboard cards with white and black lettering telling the month, day and date which can be replaced each day. All complete.Sits in a light brown cardboard box (20.5 by 19 cm ) with stappled corners and a label giving directions. " In the event of the spirit becoming divided through inversion, a few sharp jerks will make right." Wording on Calendar. " Merchants. J.H. Abbott & Co. Bendigo. Mining Supplies - Market Square Boots and Shoes - Pall Mall. Iron, Steel, Leather, Farmers' Supplies.- "

Depicting the boarding of Australian Troops from Vung Tau, Vietnam for return to Australia following active service in Vietnam. HMAS Sydney was a Majestic-class light aircraft carrier operated by the Royal Australian Navy (RAN). She was built for the Royal Navy and launched as HMS Terrible (93) in 1944, but was not completed before the end of World War II. The carrier was sold to Australia in 1947, completed, and commissioned into the RAN as Sydney in 1948. Sydney was the first of three conventional aircraft carriers to serve in the RAN, and operated as the navy's flagship during the early part of her career. From late 1951 to early 1952, she operated off the coast of Korea during the Korean War, making her the first carrier owned by a Commonwealth Dominion, and the only carrier in the RAN, to see wartime service. Retasked as a training vessel following the 1955 arrival of her modernised sister ship, HMAS Melbourne, Sydney remained in service until 1958, when she was placed in reserve as surplus to requirements. The need for a sealift capability saw the ship modified for service as a fast troop transport, and recommissioned in 1962. Sydney was initially used for training and a single supply run in support of Malaysia's defence policy against Indonesia, but in 1965, she sailed on the first voyage to Vũng Tàu, transporting soldiers and equipment to serve in the Vietnam War. 25 voyages to Vietnam were made between 1965 and 1972, earning the ship the nickname "Vung Tau Ferry". Sydney was decommissioned in 1973, and was not replaced. Despite several plans to preserve all or part of the ship as a maritime museum, tourist attraction, or car park, the carrier was sold to a South Korean steel mill for scrapping in 1975A pictorial image of troops returning to Australia from Vietnam.Timber frame with mount containing print of ship at sea and soldiers in a barge in foreground.Homeward Boundhmas sydney, ran

2002 Excellence in Construction AwardsFramed Award 2002 Excellence in Construction Awards, JA Dodd LTD, Excellence in Construction, (Existing Buildings) Under $2 million, Project: The Royal Mint Building, Architect: Robert Peck von Hartel Trethowan, Location: 280 William Street Melbourne, J A Dodd Ltd's refurbishment of the historic former Royal Mint Building delivered to the client's specification in retaining the features of this historic building, while at the same time providing modern office accommodation with state of the art facilities. New works have been defined by a modern style encompassing glass, stainless steel and flush surfaces, offering a stark departure from the ornate finishes of the original building. Traditional timber mouldings, tiles stonework and intricate paint methods have been used only where repairs to the existing building were required. The judges praised the superb job and made special mention of the exposed roof trusses. 38 master builder awards

Projector was used at Christ Church Anglican Church Mitcham (now All Saints Mitcham) for showing film strips to the congregation, Sunday School and youth groups.Early 'Shelton' film strip projector in a steel grey painted and hinged metal case with carrying handle. Projector has been finished in a 'hammered' meta paint with a large transformer as its base. It is a 240 volt projector. The film strip is manually rolled through the slots of the projector to show each frame separately. Project lens is adjustable for focus and it has a small angle of adjustment foe aligning the image on the screen.Shelton Projector Made in Australiaphotography, projectors

This is the after paired photograph used in the 150 year Lakes entrance 1858-2008 display.|The before paired photograph number 02269|Also one 12 x 16 framed photograph used in room display.Colour photograph lookout tree and steel signal light tow on Jemmys Point. Lakes Entrance Victoria.historic sites, navigation

Ramon (Ray) Francis Honisett (11.04.1931 - 30.08.2019), Fellow RMIT and medallist specialised in philatelic design, marine and military aircraft painting art and was active in the 1960s - 1990s. Ray Honisett used to live in Rye, in the Mornington Peninsula. According to Gavin Fry's book: The painting likely depicts the Lysaght Endeavour loading at Hastings. "The Lysaght Endeavour and its sister ship Lysaght Entreprise were built in Newcastle in 1973 specifically to serve the regional steel industry on the route Port Kembla - Westernport - Adelaide. Even after being lengthened by 17 metres, the two ships had remarkably short working lines, with both being broken up by 1988."Maritime artLarge framed unglazed landscape format painting predominantly green depicting in foreground a merchant vessel, a roll-on roll-off cargo ship moored at a single quayside on a river or river mouth. The middle ground shows a moderate solid jetty leading to large storage sheds at right. The background appears primarily rural with fields and hills in the distance. The location is probably Hastings Western Port in Victoria - notice the forklifts loading rolls of steel produced at the nearby steel rolling mill - the buildings in the distance. You can see the rolls of steel lined up on the hard stand to the right of the ship. The funnel colours suggest the Australian National Line. The frame incorporates a beige fabric slip with gilt edge the actual dark wood frame also with inset banded gilt edge. The back of the painting is covered with brown paper in places damaged. Hangs on a cotton cord threaded between two screw in eyelet hooks.at lower right corner single uc word in black paint : "HONISETT"tankers, marine painting, maritime art, ramon honisett, ray honisett, anl maritime art prize, acta maritime art prize, hastings, western port, victoria, steel, roll on roll off, forklift, mornington peninsula, artwork-paintings

The Eltham Community and Reception Centre was Australia's first public mud-brick building. Commissioned in 1977 by Eltham Shire Council, led by Shire president (and architect) Robert Marshall, architects Whitford and Peck were asked to design a multipurpose facility in mud-brick and timber. The official opening was performed by the Hon. R.J. Hamer; E.D., M.P., Premier of Victorai on Saturday, April 22, 1978. Architects: Whitford & Peck Pty Ltd Quantity Surveyor: D.J. Cant & Associates Structural Civil Engineers: Charlett & Moore Pty Ltd Landscape: Peter Glass, Dennis Edwards Mech Elec: Lobley Treidel & Partners Pty Ltd Acoustics: Riley Barden & Kirkhope Builder: L.U. Simon Pty Ltd Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p177 The Wiggles performed there, so has the ABC’s Play School. New citizens have made their vows, volunteers have been honoured, school children have performed, weddings celebrated and people mourned at funerals. Since 1978 the Eltham Community and Reception Centre at the corner of Pitt Street and Main Road, has provided a beautiful and quintessential Eltham environment for people from all over Melbourne. Recognised as Australia’s first public mud-brick building, the centre was built partly on the site of the parsonage of the former Methodist Church (now the Uniting Church).1 Commissioned by the Eltham Council headed by President Robert Marshall, architects Whitford and Peck were asked to design a multipurpose facility in mud-brick and timber. Following public consultation, it was agreed to build a centre for dances, exhibitions, films, plays or concerts. The results – at a cost of around $620,000 – captured the Eltham rustic style. The building – in soft tones of mud-brick and timber and immense floor-to-ceiling windows – overlooks the Diamond Creek and sporting fields. Eltham’s strong artistic heritage is reflected in the centre. Although the lighting is not ideal for a gallery and labels cannot be placed on walls, the centre hosts the Nillumbik Art Awards and displays around ten to 20% of the Nillumbik Shire Art Collection, usually for around a year at a time.2 On permanent display, close to the entrance, is local artist Clifton Pugh’s White Choughs in the Landscape. Further to the right is the Walter Withers Gallery, named after a local member of the Heidelberg School of artists. As part of the Eltham Gateway opposite the Eltham Hotel, the centre stands on what was once part of the Eltham Town Centre along this section of Main Road, then known as Maria Street. On the same site once stood the house and flour mill owned by Henry Dendy, best known as the founder of Brighton, although he lived longer in Eltham. Beside the drive is a wheel-rim tool with accompanying plaque, illustrating a technology important during the horse-powered age and now almost completely gone, as has the blacksmith’s shop that had housed it nearby. The implement is a platform for fitting iron tyres to the wooden rims of cartwheels. Beneath it is a capsule placed in 1985 to commemorate Victoria’s 150 years, which is to be opened in 2035. Although the plants, forming part of the landscaping by Peter Glass and Denis Edwards, are largely indigenous and other native species, some exotic plants are protected as an important link with the site’s past. Planted at the front around 1920, is a large Peppercorn tree with two joined trunks growing from the base, and close by is a Bhutan Cypress (Cupressus torulosa). Three other Peppercorn trees fringe the drive. The building includes two halls – the larger seating 250 people – and a large foyer overlooking trees and ovals. Both halls have retractable rear walls providing varying spaces as required, and guests can use several external decks. A site for outdoor theatre has been carved out of the natural slope outside the entrance. The Bricklayers Union refused to use the traditional mud-bricks, which weigh more than 22kg. As a result the mud-bricks were redesigned to reduce their weight and were laid back-to-back to produce a wall of normal thickness.3 The centre’s massive timber frame is reminiscent of timber bridge construction, with infill panels of mud-brick.4 In accord with the rustic style are colossal rough-sawn posts, bolts and steel brackets. The combination of mud-brick, exposed feature timber framing and creative design in this centre, characterises Eltham’s innovative buildings and the social movement behind them from the 1940s to the 1970s.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, eltham community and reception centre, mudbrick construction

Angel featured as part of the exhibition Anatomy Lessons, shown at the National Wool Museum in 2024. The exhibition featured meticulously-sculpted, life size skeletons, making visitors question their place in this web of the living and the dead. From a towering giraffe stretching 4.4 metres in height, to an army of over 50 delicately rendered frogs, this exhibition was enthralling in scale. Each sculpture is an accurate portrayal of a real animal and is carefully measured, drawn, and moulded from steel, wire, and foam. The frame is then intricately knitted over to create these thought-provoking pieces. Each sculpture tells a story, one of the collection of animals by museums and collectors, of Western safari hunters, of human encroachment, and of the often-sad role of the animals in our lives. These underlying concepts are explored and reflected by the materials used. Wool, that speaks of warmth, of comfort, of care, meets the size, grace, and sheer breathtaking beauty of the pieces, clashing with the hard and complex stories beneath. The smallest of Beevors’ knitted pieces was made while reflecting on the global tropical fish trade. At the time, press reports predicted that the imminent release of the film ‘Finding Dory’ would increase demand for pet tropical fish. People enjoy a good fish story, but studies have revealed that widespread reports of the ‘Nemo Effect’ following the debut of the film’s predecessor, ‘Finding Nemo’, were exaggerated. Data collected to assess people’s interest in blue tang, the species of the title character in ‘Finding Dory’, revealed an increase in online searches for “blue tang”, but no evidence of an increase in their trade or visits to public aquariums to observe them. When discussing the action and attitude effects of pop culture depictions of animals, it is necessary to investigate evidence-based material. Pop culture, wildlife documentaries, web videos, blogs, and news stories: there is a great ocean of content to consume, but the mechanisms by which witnessing these representations of animals and nature leads to tangible behaviour change, positive or bad, individual and social, remains poorly understood. In a world inundated with messaging and content, could a simple phrase like “fish are friends, not food” influence attitudes? Originally from Australia, Michele Beevors has been practicing in New Zealand for the last 20 years. She is Head of Sculpture at Dunedin School of Art, Otago Polytechnic, New Zealand’s oldest, and one of its most prestigious, art schools. Beevors has exhibited in galleries, museums, and exhibition spaces in across New Zealand, Australia and Vienna with art that is defiant, unconventional, and moving.Knitted white woollen fish skeleton, with black pupil.knitting, art, conservation, sculpture, skeletons, anatomy lessons, michele beevors, fish, angel fish

Tramcar component - possibly locking key - made from two pieces of cut steel and welded together and finished. A known unknown! Kym Smith advised - "11/6/2020 - It looks familiar, but I can’t recall exactly. I think is used as a locking pin to hold an internal panel in place, possibly the internal panels/frames that are on the interior side of the sliding doors, with the pin going through the top sill into the internal frame?" and 13/6 " I remember somewhere seeing a panel that has pins in the bottom that locate in holes in the floor, then the panel is pushed into place and the securing/locking pin used to hold it in place, with the panel having a square saddle that the pin goes through. I’m wondering if it is a kick panel under a seat? "trams, tramways, tramcars, components

Bell used by the conductor to signal to the driver to stop, proceed or an emergency stop. The flat leather strap indicates it was used on a cable tram, rather than an electric tramcar which were fitted with round leather cords. The leather strap is riveted to a round steel ring.Demonstrates a conductors communication or signal bell made for use on cable trams.Brass Conductor Communication Bell, or signal bell, consisting of cast frame, bell striker and bell pull part. Has at both ends, four open screw holes that were used to secure the bell to the roof of a tram with a flat 22mm wide leather strap attached using a steel ring.trams, tramways, conductors, bells, cable trams

Used for polio patient for sleeping - to stop the legs turning over. Polio disability aid. Callipers were fitted to lock up the knee joints of weakened leg to enable a person to walk without their legs collapsing and to pick the foot up from the ground when foot drop had occurred due to paralysed skin muscles. The polio patient found these devices restrictive and uncomfortable. See KVHS 1796, KVHS 1798Used by Wilma Davies, a Kiewa Valley resident, who suffered from polio from the early 1950s.Metal frame for each leg to fit in a 'V' shape from the waist to the feet. Supported by canvas straps - 3 on the left side, and 2 on the right (1 has been torn off and replaced with leather straps). 2 flat foot shaped steel plates are at the foot end and are adjustable for the feet to be at several angles. The frame has a supporting frame attached giving depth to the calliper.polio, calliper, pandemic

Former rural landscape being alteredGood condition for a colour print dating from 1968.Noneerection of steel framed building on former rural landscape., photograph taken on 26/05/1968.

Former rural landscape being alteredGood condition, but slightly fadedNoneerection of steel framed building on former rural landscape., photograph taken on 26/05/1968.

Former rural landscape being alteredGood conditionNoneerection of steel framed building on former rural landscape., photograph taken on 26/05/1968.

Robert Ulmann was born in Zurich, Switzerland, where he studied sculpture and painting, exhibiting annually with the National Art Society of Switzerland and in Paris, Munich and Stockholm. He migrated to Canada in 1956 and became a Canadian citizen. After working on the restoration of sculpture on the west wing of the Parliament Buildings Ottawa, he took up a Government appointment as one of six artist advisers to the Eskimos, initiating handicraft and sculpture programs in isolated settlements across the Central Arctic. He arrived in Australia with his Australian wife, Helen, in 1969, after two adventurous years backpacking and sketching through the United States, Central and South America and the South Pacific. From 1970 to 1972 he was employed by the Northern Territory Administration as a manual arts instructor to the aboriginal people of Docker River, a remote settlement west of Ayers Rock. A series of drawings from this period was exhibited by the Department of the Interior in Canberra, Sydney and Adelaide. Robert Ulmann’s paintings and prints of wildlife from Australia and overseas fill a beautiful studio overlooking the famous Logans Beach whale nursery at Warrnambool in the Western District of Victoria. His previous studio and home, together with 13 years of field sketches and his best work collected together for two books were destroyed by the Ash Wednesday fires at Naringal in 1983. Rob exhibited in Sydney, Melbourne, Adelaide and Perth as well as in the Regional Galleries of Warrnambool, Ballarat, Portland and Horsham, and, among numerous prizes, he won the award for watercolour at six of the annual exhibitions of the Wildlife Art Society of Australasia, between 1978 and 1983. Although his principal interest was in drawing and painting, he retained a fascination with sculpture. His works range from two stone fountains with figures commissioned by the City of Zurich, while he was still a student, to a 4 ½ ton sculpture in bluestone commissioned in 1977 as a memorial to Sir Fletcher Jones., a five metre representation of whale tails in steel, and a life-size bronze of St. John of God commissioned for a private hospital.Image of a goat beginning to rise from a seated position, possible struggling out of mud. Painted in yellow and brown tones, with blue shadows. Earth colours form a rough ground area surrounding the goat. A brown wash provides a cursory background behind the goat's head. Dark cream matt surrounds image. Gold painted wooden frame, with glass.Front: Robert Ulmann (lower centre, paint) Back: (no inscriptions)

The ship Speke ran aground on the coast of Phillip Island on the 22nd of February 1906. The ship was painted by Artist Woolston L Barratt in 1891 and hung in the saloon of the Speke. It was given by Captain Tilston to John Cleeland, captain of the rocket rescue team and the painting used to hang in his home Wollomai house on Phillip Island. It was restored by Mal Campbell to fix smoke damage.The Speke was an all steel ship built in Wales in 1891, the second largest 3-masted full-rigged ship in the world. She was delivering wheat to Geelong and confused a bushfire in Cowes for navigation lights. Many local people salvaged goods from the resulting wreckage.Restored painting of the Speke mounted in the original gold frame.phillip island, art, speke, woolston barratt, woolamai house

J. Mann and Sons was first established as a farm produce store in 1921. The range of products was extended in the 1930s and included groceries and hardware, as well as the first petrol bowser in Wodonga outside the store. After WWII, the premises were extended and the range of products continued to increase. In the 1960s the Mann Family opened a new supermarket in Wodonga, in addition to the hardware business, providing steel, plumbing and industrial supplies, and they employed over 100 people at one stage. With changes in the retail industry, the Mann Family sold the main hardware business to Bunnings and the steel and rural produce business to the Kelly brothers in 2006.This item was an important everyday feature in many stores when items were wrapped in brown paper before the introduction of plastic bags.The paper dispenser has a wooden top and base, with a cast iron frame and lever. There is a removable metal rod which holds the paper roll in place. It was used for dispensing brown wrapping paper. The Blade" lever is not sharp, but was used to stabilise the paper roll so the paper can be easily torn off at the required length. An empty paper roll is included.mann wodonga, wodonga businesses