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Ararat Gallery TAMA
Textile, Frances Burke, Regency Stripe, 1961
Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs. -
Ararat Gallery TAMA
Textile, Frances Burke, Waratah, c. 1955
Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs. -
Ararat Gallery TAMA
Textile, Frances Burke, Links, 1958
Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs. -
Ararat Gallery TAMA
Textile, Frances Burke, Cane, c. 1952
Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs. -
Ararat Gallery TAMA
Textile, Frances Burke, Unknown
Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs. -
Ararat Gallery TAMA
Textile, Frances Burke, Unknown, 2 pieces, 1939-1950
Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs. -
Ararat Gallery TAMA
Textile, Frances Burke, Shields (pair of curtains), 1965
Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs. -
Ararat Gallery TAMA
Textile, Frances Burke, Periwinkle
Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs. -
Ararat Gallery TAMA
Textile, Frances Burke, Fabric piece, framed
Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs. -
Surrey Hills Historical Society Collection
Book, Fog on the Dive: 100 years of the Surrey Park Swimming Club, 2004
This book has recorded as much history as is possible of the Surrey Park Swimming Club which lost many records in a fire in 1929. The authors have highlighted a few people who were life members and also some other notable swimmers.This book has recorded as much history as is possible of the Surrey Park Swimming Club which lost many records in a fire in 1929. The authors have highlighted a few people who were life members and also some other notable swimmers.surrey park swimming club (vic), swimming, box hill, (mr) gerard o'donnell, (mr) george lyall, (mr) matt welsh, (mrs) bev storey, (mr) ian pope, (mr) ted holdaway, (mr) dick holdaway, (mr) john konrads, (mr) harold prudden, (mrs) lesley lobban, (mr) gary hart, (mr) brett davis, (mr) gary winduss, (mr) doug andrews, (mr) mick withers, (mr) robert menzies, (mr) robert elmore, j. bell, (miss) alwyn mitchell, (miss) bev lyall, (mr) j orrill, (ms) maureen meagher, (ms) sandra giles, (mr) mack greening, (mr) des meagher, (ms) diane elmore, (ms) christine meagher, (ms) lyn reardon, d. walker, (ms) barbara somcox, (ms) mavis dahl, (ms) ilma dahl, (mr) john (snow) lobban, (mr) alan baster, (mr) tom richards, (mr) john lauder, (miss) val george, (mr) ashley cooper, (mr) noel collacott, (mr) colin mcdonald, (mrs) ivy lavinia weber, (mr) frank beaurepaire -
Surrey Hills Historical Society Collection
Archive - Vertical file, Chatham Primary School
Chatham Primary School opened in August 1927 following local pressure for an additional school. Balwyn, Mont Albert and Surrey Hills schools were all experiencing overcrowding following population growth after WW1.A vertical file of information related to Chatham Primary School: 1. Correspondence regarding establishment of the school – all are copies: • Letter from Amy Brown to Secretary of Chatham School Committee (undated) relating to correspondence regarding the establishment of the school • Letter from Education Department to Mr. A.R. Brown, 17.5.1923. • Letter from Department of Public Works to Mrs. Amy R. Brown, 2.10.1923. • Letter from Education Department to Mr. A.R. Brown, 2.11.1923. • Letter from A. Brown to Education Department ?, 7.11.1923. • Letter from E.W. Greenwood, MLA, State Parliament House to Mr. A.R. Brown, 8.11.1923. • Letter from E.W. Greenwood, State Parliament House to Mr. A.R. Brown, 19.11.1923. • Letter from Department of Public Works to Mrs. Amy R. Brown, 5.12.1923. • Letter from Education Department to Mrs. A. Brown, 8.12.1923. • Letter from A. Brown to Mr. Greenwood, 26.7.1925. • Letter from E.W. Greenwood, State Parliament House to Mrs. A. Brown, 14.3.1925. • Letter from E.W. Greenwood, State Parliament House to Mrs. A. Brown, 15.7.1925. 2. Letter from E.W. Greenwood, State Parliament House to Mrs. A. Brown, 16.11.1925. 3. Letter from Department of Public Works to Mrs. A. R. Brown, 10.11.1926. 4. Letter from E.W. Greenwood, State Parliament House to Mrs. A. Brown, 2.3.1923. 5. Letter from E.W. Greenwood, State Parliament House to Mrs. A. Brown, 3.6.1927. 6. Letter from E.W. Greenwood, State Parliament House to Mrs. A. Brown, 29.6.1927. 7. 2 Mr. Harbert’s account for Shelter Shed, Chatham State School, (undated), (1 page). 8. 4 copies of newspaper cuttings: 9. ‘Masts tell Edina’s history’, Herald, 4.5.1931, 10. ‘Edina to have holiday on 80th birthday’, Argus, 4.5.1934, 11. ‘Edina’s birthday tomorrow’, Age, 4.5.1934, 12. ‘Old lady of the sea has a birthday’, Star, 4.5.1934 (1 page). 13. ‘The story of the steamship “Edina” a wonderful veteran of the seas’, The Meccano Magazine, A.R. Prince, December, 193 ? (1 page). 14. ‘Ponsford and schoolboys’, (paper and date unknown), (2 pages). 15. Program for ‘Trial by jury’, 16.11.1929 (1 page). 16. ‘What was the joke that the Governor told?’, paper unknown, 5.5.1931 (1 page). 17. ‘History in school flag’, paper and date unknown (1 page). 18. Lists of girl and boy dux 1928 – 1944 (1page). 19. Chatham School 4314 notes (undated) (3 pages). 20. Extracts from Box Hill Reporter, 1927-9, from Alan Holt collection (1 page). 21. Empire day celebrations in Surrey Hills in 1930s, notes from Matt Bowen, 1983 (1 page). 22. Extracts from Box Hill Reporter 1927-8 (1 page). 23. Vision and realisation, 1973 Education Department : Port Phillip Eastern Region: 4314 Chatham notes by H.H. Singleton (1 page). 24. ‘Bell has historic appeal’, paper unknown, c. 1985 (1 page). 25. Background information on the SS 'Edina' bell, Adrian Peniston-Bird, Principal of Chatham Primary School, 1982 (1 page). 26. ‘It’s there for another fifty years’, October, 1985. See also ‘Chatham past and present, a patchwork of people’. (1 page). 27. ‘Miss Marie George’, SHNN No. 40, June/July, 1989 (1 page). 28. ‘Chatham Primary School – a community within the community’, SHNN No. 56, Feb/March, 1992 (1 page). 29. ‘Chatham Primary School – another exciting year begins’, SHNN No. 68, Feb./March, 1994 (1 page). 30. ‘Chatham plans a big reunion’, SHNN No. 77, Aug./Sept. 1995 (1 page). 31. ‘In search of the past’, Progress Press, 15.5.1996 (1 page). 32. ‘Chatham primary’, SHNN No. 82, June/July, 1996 (1 page). 33. ‘Happy Birthday, Chatham Primary’, SHNN No. 84, Oct./Nov. 1996 (1 page). 34. Chatham School Fathers Club, SHNN No. 83, Aug./Sept. 1996 (1 page). 35. Notes by Doug Iversen, 18.7. year unknown, (1 page). 36. Advertisement for Chatham Primary School celebrating 70 years: ‘Take a walk down memory lane’, 10.9.1996, paper unknown (1 page). 37. Chatham Primary School invitation to 70th year celebration – Sat. 19.10.1996 (1 page), AND Back to Chatham (1 page). 38. Flyer: Chatham Primary School Reunion Celebrating 70 years 19.10.1996 (1 page, 2 copies). 39. Program ‘Welcome to Chatham Primary School No. 4314 70th celebration’, undated (1 page, 2 copies). 40. Chatham History trail, undated (1 page). 41. Drawing of Chatham Primary School, David Williams, 1995 (1 page). 42. ‘Seems like yesterday’ 1998, paper unknown (1 page). 43. ‘Schools and the environment’, SHNN No. 98, Feb./March, 1999 (1 page). 44. ‘School praises retiring head’, by Kate Morris, 19.6.2000, paper unknown (1 page). 45. “Chatham’s class of ‘30” by Meg Freeman, Progress Press, c. July, 2000 (1 page). 46. ‘Recalling a class act’, Progress Press, c. August, 2000 (1 page). 47. List of students enrolling in 1930 (2 pages). 48. ‘Boy in man’s shoes’, Progress Press, 21.8.2000 (1 page). 49. Chatham Foundation Day Lunch invitation 31.7.2000, (with contact details of former students on the back, written by Ken Hall) (1 page). 50. ‘An invitation – Chatham Primary plans for its 75th birthday’, SHNN No. 118, June/July, 2002 (1 page). 51. 75th birthday assembly – August 1st 2002 (1 page). 52. ‘Chatham lands special garden’ (paper and date unknown, possibly Progress Leader) (1 page). 53. ‘Chatham Primary celebrates specialist programs’, SHNN No. 184, June/July 2013 (1 page). 54. ‘City’s sustainable schools awarded this month’, Boroondara Bulletin, April, 2013 (1 page). 55. ‘Chatham Primary walks to win’, SHNN No. 189 March/April 2014 (1 page). 56. ‘School builds pathway to greater sustainability’, Progress Leader, 15.9.2015 (1 page). 57. ‘Schools embrace need for class action’, Age, 7.11.2016 (1 page). 58. Advertisements for 2017 grand fair 4th March, 2 designs (3 pages including 2 copies of one). 50. A history of Chatham Primary School, golden jubilee edition 1977 (9 pages with covers). 51. Photo of Mrs. Frances Le Couteur receiving a gift at Chatham Primary School, golden jubilee 1977 (1 page). 52. ‘Thank you’ letter to editor from Mrs. Frances Le Couteur (paper unknown), 1977 (1 page). 53. Letter from Chatham School No. 4314 to Mrs. Ethel Cerini, 10.2.193 ? (1 page). 54. Programme for concert held in the 1930s (source possibly Jocelyn Hall) (1 page). (mrs) amy brown, e w greenwood, albert harbert, s s edina, matt bowen, adrian peniston-bird, marie george, reunions, doug iverson, david williams, meg freeman, frances le couteur, ethel cerini -
Surrey Hills Historical Society Collection
Book, Fog on the Dive: 100 years of the Surrey Park Swimming Club, 2004
This book has recorded as much history as is possible of the Surrey Park Swimming Club which lost many records in a fire in 1929. The authors have highlighted a few people who were life members and also some other notable swimmers.This book has recorded as much history as is possible of the Surrey Park Swimming Club which lost many records in a fire in 1929. The authors have highlighted a few people who were life members and also some other notable swimmers.surrey park swimming club (vic), swimming, box hill, (mr) gerard o'donnell, (mr) george lyall, (mr) matt welsh, (mrs) bev storey, (mr) ian pope, (mr) ted holdaway, (mr) dick holdaway, (mr) john konrads, (mr) harold prudden, (mrs) lesley lobban, (mr) gary hart, (mr) brett davis, (mr) gary winduss, (mr) doug andrews, (mr) mick withers, (mr) robert menzies, (mr) robert elmore, j. bell, (miss) alwyn mitchell, (miss) bev lyall, (mr) j orrill, (ms) maureen meagher, (ms) sandra giles, (mr) mack greening, (mr) des meagher, (ms) diane elmore, (ms) christine meagher, (ms) lyn reardon, d. walker, (ms) barbara somcox, (ms) mavis dahl, (ms) ilma dahl, (mr) john (snow) lobban, (mr) alan baster, (mr) tom richards, (mr) john lauder, (miss) val george, (mr) ashley cooper, (mr) noel collacott, (mr) colin mcdonald, (mrs) ivy lavinia weber, (mr) frank beaurepaire -
City of Greater Bendigo - Civic Collection
Souvenir - Bendigo Post Office Centenary Ephemera, Ted Rankins, 1987
When the Commonwealth Post and Telegraph Act was passed in June 1902, and a national Postmaster General's Department (the PMG) was established the responsibility the nation's mail and telephone services fell on local Post Offices. The Bendigo Post Office was designed by Public Works architect George W Watson and constructed between 1883 and 1887. The two story brick structure with basement has unpainted rendered facades and a 43m high clock tower complete with 6 bell carillon. The facades are elaborately decorated with Corinthian pilasters, balustrading, lions' heads and the state mansard roof with cast iron ridging and finials. (VHR #4739). Situated on Pall Mall it has always been called the Bendigo Post Office even though it was not until 1891 that the name Bendigo was given to the town. The Bendigo Post Office housed much more than just postal services and the building contained many early government departments and services needed for a growing district. The building celebrated its centenary on the 30th September 1987 to much fan fare with Ted Rankins, the then Postal Manager planning many of the week long events including tours of the post office, a grand parade with cake and staff in period costume, a ball at the Shamrock and a barbeque in Rosalind Park. The Post Office ceased providing postal services in 1997 after the privitisation Australia Post and Telstra but continues to play a central role for the community, providing important services to visitors and locals alike. Currently it is occupied by Bendigo Tourism and includes two exhibition spaces including the Living Arts Space and Djaa Djuwima a dedicated and permanent First Nations Gallery. Activities at the Post Office are supported by City of Greater Bendigo staff and a dedicated group of volunteers. These items are part of the postal collection donated by the Rankins family in memory of the last postal manager at the Bendigo Post Office, Ted Rankins. 0364.1: Single sided printed 'Order of Proceedings' flyer; Outlines the running of events for the celebrations on Wednesday 30 September, 1987 at the Post Office with the centenary logo centre top in crimson ink. 0364.2: Single sided, four-colour printed, DL size invitation for celebrations marking the centenary of the Post Office on Wednesday 30 September, 1987. 0364.3,.4,.5,.6,.7: Printed cake bag with centenary logo and image of Bendigo Post Office printed on front in crimson ink. 0364.8,.9,.10,.11: Square note paper with centenary logo and border printed in crimson ink. 0364.12 Envelope: Australia Post envelope with Bendigo 100th anniversary images. Date stamped and addressed to Mr Edmondston Postmaster, Elmore. bendigo post office, bendigo tourism, city of greater bendigo tourism, post office collection, ted rankins collection, city of greater bendigo volunteers -
Clunes Museum
Painting - PAINTINGS, David Williams
Images of; Horse Trough & Wagon Residence 94 Bailey Street Former Presbytery St. Thomas Aquinas Former Clunes Free Library Residence 25 Camp Street Monument 100 years of gold Clunes in Melb Monument Former butcher's shop Fraser Street Residence & shops 41-43 Fraser Street Clunes School of Mines Clunes War Memorial Residence 32 Leslie St Clunes Former suspension bridge Former St Paul's Vicarage 42 Service Street Former Police Office Former Police residence Portable Lock Up Former Dow Residence 9 Hill St Former Hall & Fire Station 2 Hill St St Paul's timber Church hall St Paul's Church Masonic Lodge 23 Service St St Paul's Pulpit Masonic Lodge interior Everhard cordial bottles Scythes in Clunes Museum Ascot Blacksmith shop Former Ascot hotel MIA Hall Ascot The Coghill Monument Former Methodist Church Coghills Creek Clunes Cemetery Chapel Maiden Hill Homestead shearing shed Beckworth Court stables Beckworth Cour shearer's quarters Former School Evansford Glengower Outbuilding Amerst Former Mortuary 46-50 Fraser Street Wood fired heater Beckworth court farm shed Gold mine trolley Servant's bells Maiden Hill cow bail Former South Clunes school 29 George Street 70 Fraser Street Former Post Office "Allowah" Clunes Street Ascot "Homestead" Beackwith Court "The Meat House" Beckwith Court "Shearing Sheds" Beckwith Court Evansford Community Hall 54 watercolours remaining from the 2003 exhibition held at Clunes, all unframed, depicting Clunes and surrounds architecture and streetscapes.watercolour, 2003 exhibition -
Linton Mechanics Institute and Free Library Collection
Book - Novel, Vaizey, Mrs George de Horne, Cynthia Charrington by Mrs. George de Horne Vaizey (aka Jessie Bell, Jessie Mansergh), 1911
Hardcover book with a black fabric cover and brown leather spine. 344 pages. fictionfiction -
Stawell Historical Society Inc
Photograph, Stawell State School Number 502 with student's 3rd Babies in classroom with Miss Matheson as the Teacher 1930, 1930
Photograph of children in classroom. State School 502 3rd. Babies 1930 Teacher Miss Matheson. Joan Vagg 1930 3rd Babies written on back. Listed Students Front Row R/L - Norma Chapman, George Holloway, Jock Hill, Unknown, Unknown. Second Row - Miriam Colquhoun, Betty Wells, Venus Floyd, Audrey Roeby, Unknown, Allan Bell?, Gray?, Unknown, Unknown. Third Row - Ron? Byron, Alan Storer, Betty Chapman, Nina Lea, Dorothy Whiteside, Mavis Darker, Smith?, Unknown, Unknown. Fourth Row - Judy Campbell, Lesley Dalkin, Unknown, Shuttleworth?, Unknown, Valda Evers, Joyce Miller, Unknown. Fifth Row - Pauline Datson?, Dorothy Kingston, Smith?, Stan Anyon, Unknown, Paisley Bradley, Unknown, Unknown, Unknown, Unknown. TEACHER Miss Matheson This photograph came from the Vagg family. Joan Vagg Died October 1932 - 7 years. Presumed she must be one of the girls. Students seated behind benches in Classroom with teacher.Joan Vagg 1930 3rd Babiesstawell education students -
Federation University Historical Collection
Booklet, J.A. Hoskin & Son, Ballarat School of Mines Students' Magazine, 1945, 1945
List of Full Course Students' 1945, Editorial, Editor's Notes, News and Notes, End of the War 1939-1945, Obituary, The Literary Society, The Chemical Nature of Women, Fumes from the Lab, Forests - Our Asset and Responsibility, Arts & Crafts Gossip, Sports, Commercial Notes, The Junior TechsMaroon cover with, blue, green and gold lettering, soft covered magazine of 72 pages including advertisements. Artwork Mr Calder - By Eda Woodfield Miss Williams - By Ruth Mole Basil - By Beatrice Burgess Roy - By Eda Woodfield Mac - By Gweneth Speirs Joll - By Marjorie Gray Doug - By Ruth Mole View from the cutters hut - By Marion Beckwith Mr Fairbank - By Ruth Mole Perc - By Ruth Mole Peter - By Eda Woodfield Fritz - By Joan Walter On the track to the cutter's hut - By Joan Walter The cutter's hut - By Ruth Mole Gertie - By Marjorie Gray Bombhead - By Ruth Mole Gwen - By Francis Duffy Marje - By Ruth Mole David - By Joan Walter Skeeter - By Joan Walter Ewan - By Ruth Mole Blue - By Neville Reeve Stanley - By Joan Walter George - By Joan Walter Vic - By Beatrice Burgess Gladys - By Eda Woodfield Olwyn - By Beatrice Burgess Valda - By Beatrice Burgess Betty - By Eda Woodfield June - By Eda Woodfield Stella - By Beatrice Burgess Verna - By Eda Woodfield Valerie - By Eda Woodfield June - By Beatrice Burgess Dorothy - By Joan Walter Beryl - By Joan Walter Noreen - By Ruth Mole Pat - By Joan Walter Valma - By Eda Woodfield Graham - By Gweneth Speirs Johnny - By Joan Walter Charlie - By Beatrice Burgess Raynor - By Marjorie Gray George - By Marjorie Gray Darkie - By Ruth Mole Duck - By Beatrice Burgess Robert - By Ruth Mole William - By Gweneth Speirs Basil - By Joan Walter Wilson - By Joan Walter Schoolbeck - By Ruth Mole Duck Weed - By Eda Woodfield Bas - By Beatrice Burgess Albert - By Ruth Mole ballarat school of mines, magazine, g. curtis, p. edmonds, kevin j. whiter, david t. coburn, peter j. wilson, john k. leicht, douglas d.g. dean, frank d. daykin, grace lawry, p. maloney, j. mckenzie, percival d. fisher, stanley s. parker, beatrice e. burgess, roy e. mawby, roma sudoltz, peter h. marxsen, lois reynolds, robert j. mckenzie, w. coad, marion a. beckwith, john g. procter, gweneth. speirs, neville f. reeve, dr pound, c. fairbank, f. g. procter, jeanette perkins, john w. jolly, m. berlyn, c. g. fairbank, bill f. carroll, marjorie gray, f. n. reeve, joan waller, winifred m. beckwith, isobel murfett, frank daykin, joy martin, max coward, jack henderson, joe wilkinson, alan wilson, muriel harland, m. fogarty, sylvia williams, t. r. thomas, john p. l. gibbs, t. mccartney, a. s. richards, p. crosby, h. middlin, mr cornell, lois kinnersley, margaret murrell, ouida worthington, i. murfett, ruby gladman, john m. blainey, mina gallie, miss darby, p. moloney, v. eva, lester w. roffey, robert f. swales, john e. ambrosio, mr hillman, neville r. morton, basil j. marshall, lloyd lehmann, lindsay s. pattenden, john middlin, alfred e. temby, a. hyett, willaim g. young, kingsley r. bremmer, william j. hewitt, geoffrey f. stevens, n. black, lucy cooper, valma overall, evelyn ditchfield, b. lancaster, miriam horsey, lorraine saunders, n. hoffman, audrey fry, robert j. murell, colin a. bell, ewan c. jones, d. powell, william j. llewllyn, kenneth s. lindsay, nola dridan, patricia gleeson, winifred stevens, mary cummins, b. sherritt, alison johnson, b. conway, b. vallins, k. dowall, m. grinham, k. eberhard, c. lea, k. george, a. coad, c. eltringham, w. allan, m. silvey, f. jacobson, l. clifton, r. sargent, w. caldow, g. pyke, g. bergin, k. dean, r. bennett, k. hoffman, a. kerr, h. sealey, d. mcconville, p. nunn, d. halson, l. frichot, g. smith, m. mcdonald, w. hon, r. irving, l. drake, c. gedye, g. jukes, a. new, a. smith, k. weybury, c. wilson, p. banfield, a. hughes, g. yeoman, eda woodfield, francis duffy -
Williamstown Botanic Gardens- Hobsons Bay City Council
Work on paper - Ephemera - Williamstown Botanic Gardens - 1934 Reception Card, 1934
The card for the Civic Reception at Williamstown Town Hall for the ‘Back to Williamstown’ celebrations – the centenary from date of first settlement in 1834. It belonged to James and Kate Tyrrell, the paternal grandparents of the Donor. The donor is the third generation of her family to live in Williamstown. Having a photo of the Gardens in the reception card is evidence of the community pride of the Gardens. The photo is evidence of plantings in 1934 A folded sepia look card. The front has an embossed border, the City of Williamstown Shield, date in the right bottom corner and an inscription as described. The left fold inside demonstrates the reverse of the embossed border and details of the City of Williamstown and Councillors. The right side fold inside is a photo of people walking along ‘The Main Walk, Williamstown Gardens’. The back has space for ‘Autographs.’williamstown botanic gardens, hobsons bay city council, city of williamstown, williamstown gardens, 1934, councillors, james taylor gray, henry johnston harvey, william gordon gray, walter stuart menzies, james adolphus nelson, evan charles owens, john robert bell, john anthony dennis, allan john deacon, oliver prettie chanter, william roberts, george alexander paine, james hocking, harold rose, norman hodgson -
Federation University Historical Collection
Booklet, Ballarat Illustrated for Enterprise, Education & Health
Green, red and black soft covered facsimile booklet. The book includes numerous illustrations including Ballarat City Municipal Chambers, Ballarat Banking Co. Ltd, Art Gallery of Ballarat, Ballarat Trustees, John McLeod, Pty Ltd, Ballaarat Gas Co., J. J. Goller, Star Office, Ballarat Courier Office, Morsheads, M.B. John, Rowlands, Huttons the Jewellers, Millers the Clothiers, James Smith Agricultural Machinery, Coles and Pullum, City Baths, Benoit's Sun Foundry, William Paterson Drapers, Eureka Terra Cotta and Tile Co., Ballarat Woollen & Worsted Co. Ltd, Sunnyside Woollen Mill, Red Shop tea Rooms, Allchine Bros., Brind's Dunnstown, Ballarat Breweing Co., R. Tunbridge & Sions, Ballarat Zoological Gardens, A. Cant Plumber, Hugh Jones, Eureka Reserve, W.F. Coltman, Loveland & Haslem, G. Warner, W. Cornell, Craig's Hotel, Electric Supply Company of Victoria (Ballarat), Longhurst's, P.C. Thornton, Cowley's Eureka Ironworks, W. Owen, Clarendon Ladies College, Lal Lal Falls, Corckers, Evening Echo Office, Campbell & Wilson and Broadbent brothers. A number of portraits associated with the above organisations are also reproduced in the booklet.non-fictionballarat, w miller, af alchin, a polson, wf longhurst, pj pringle, george crocker, r maddern, as rusden, w cornell, pc thorthon, w owen, cs benoit, h jones, d davies, j scullin, c walker, jh jones, j tyler, jj crifiths, n clark, s clark, cf taylor, tt hollway, morton, f davies, f herman, w knox, a cant, mb john, mwb john, wf coltman, w moir, j macleod, jj mcgowen, a hancock, j osborne, ao stubbs, rw baxter, g baxter, cg harvey, gh warner, cj coles, wj pullum, a mackenzie, jr petterson, ec chamberson, ba john, te miller, g miller, a bell, jh shelley, f sutton, re loveland, tr haslem, re loader, cuthbert, ballarat city municipal chambers, ballarat banking co. ltd, art gallery of ballarat, ballarat trustees, john mcleod, ballaarat gas co., j. j. goller, star office, ballarat courier office, morsheads, m.b. john, rowlands, huttons the jewellers, millers the clothiers, james smith agricultural machinery, coles and pullum, city baths, benoit's sun foundry, william paterson drapers, eureka terra cotta and tile co., ballarat woollen & worsted co. ltd, sunnyside woollen mill, red shop tea rooms, brind's dunnstown, ballarat breweing co., ballarat zoological gardens, a. cant plumber, hugh jones, eureka reserve, w.f. coltman, loveland & haslem, g. warner, w. cornell, craig's hotel, electric supply company of victoria (ballarat), longhurst's, p.c. thornton, cowley's eureka ironworks, w. owen, clarendon ladies college, lal lal falls, evening echo office, allchin brothers, r. tunbridge and sons, campbell and wilson, broadbent brothers, ballarat asylum, crockers -
Flagstaff Hill Maritime Museum and Village
Equipment - Pattern, Briggs Brass Foundry, Early 20th century
The wooden pattern is part of a set that are stored in a strong wooden crate. It was used at Briggs’ Brass Foundry for making sand casts. The traditional craft of sand casting is over 2000 years old. The handcrafted process produces brass and copper alloy goods that are well suited to marine use; bells, boat hooks, cowls, propellers, handles, lids, rowlocks, hooks, letters, bolts, rail holders, brackets, deck plates, flanges, rudder guides, portholes and covers. Briggs’ Bronze mixture is a copper-based alloy made from local ingots of copper, tin, zinc and lead in carefully measured quantities. The finished product is non-ferrous and can last indefinitely. The crate of patterns was donated by the Briggs family in the early years of Flagstaff Hill, along with other related items such as brassware, tools and machinery. The donated items were displayed in a simulated Brass Foundry in the Village along with other working crafts, trades and services found in a Maritime town. The items were on show from the completion of the building in 1986 until 1994 when the building was repurposed. The patterns represent the trades of foundering and metalwork, both supporting maritime industries such as shipwrights and boatbuilders. Farmers, manufacturers and other local industries also needed the castings made by foundries. The Brass Foundry included a historic Cornish chimney set up as a working model, to tell the story of smelted metal heated in furnaces then be poured into the sand moulds. This chimney was made from specially curved bricks and is now about two-thirds of its full height when originally located at the Grassmere Cheese factory. The craft of sand-casting from carved wooden patterns to create metal is an example of skills from the past that are still used today. The foundry pattern set is significant for its association with brass foundries locally and generally in coastal areas of Victoria. Marine industries such as ship and boat building rely on good quality castings for their machinery, equipment and fittings. Briggs Brass was especially formulated using non-ferrous metals to ensure their longevity. The patterns are associated with the long-running firm Briggs Brass Foundry that specialised in cast goods for the marine industry, ready to supply the needs for once-off or mass-produced items. Their products would have been fitted to sail and steam vessels along coastal Victoria including Warrnambool. Briggs Marine was also a bell-founder specialist and is also associated with the Schomberg Bell at Flagstaff Hill, having restored it to is former state as a fine example of the bell from a luxury migrant vessel from the mid-19th century. Pattern; rectangular wooden block made from laminated sections of wood painted black. A half-cylinder shape was carved into the long side, and a dowel shape was placed at the lower side. The pattern is part of a set of foundry patterns from Briggs Brass Foundry.flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, briggs' bronze, traditional method, trade, sand cast, cast, brass alloy, copper alloy, pattern, mould, foundry, brass foundry, metal foundry, casting, sand mould, sand casting, marine equipment, marine tools, marine fittings, copper tin zinc lead, non-ferrous, non-corrosive, brassware, metalware, foundering, metalwork, maritime, bell founders, ship chandlers, marine products, biggs, briggs family, herbert harrison briggs, h h briggs, george edward briggs, cyril falkiner mckinnon briggs, cyril briggs, briggs & son brass foundry, h h briggs & sons foundry, briggs marine, alliance casting & engineering solutions, grassmere cheese factory, cornish chimney, curved bricks, collingwood, moorabbin, collingwood foundry, moorabbin foundry, 1912 -
Flagstaff Hill Maritime Museum and Village
Equipment - Pattern, Briggs Brass Foundry, Early 20th century
The wooden pattern is part of a set that are stored in a strong wooden crate. It was used at Briggs’ Brass Foundry for making sand casts. The traditional craft of sand casting is over 2000 years old. The handcrafted process produces brass and copper alloy goods that are well suited to marine use; bells, boat hooks, cowls, propellers, handles, lids, rowlocks, hooks, letters, bolts, rail holders, brackets, deck plates, flanges, rudder guides, portholes and covers. Briggs’ Bronze mixture is a copper-based alloy made from local ingots of copper, tin, zinc and lead in carefully measured quantities. The finished product is non-ferrous and can last indefinitely. The crate of patterns was donated by the Briggs family in the early years of Flagstaff Hill, along with other related items such as brassware, tools and machinery. The donated items were displayed in a simulated Brass Foundry in the Village along with other working crafts, trades and services found in a Maritime town. The items were on show from the completion of the building in 1986 until 1994 when the building was repurposed. The patterns represent the trades of foundering and metalwork, both supporting maritime industries such as shipwrights and boatbuilders. Farmers, manufacturers and other local industries also needed the castings made by foundries. The Brass Foundry included a historic Cornish chimney set up as a working model, to tell the story of smelted metal heated in furnaces then be poured into the sand moulds. This chimney was made from specially curved bricks and is now about two-thirds of its full height when originally located at the Grassmere Cheese factory. The craft of sand-casting from carved wooden patterns to create metal is an example of skills from the past that are still used today. The foundry pattern set is significant for its association with brass foundries locally and generally in coastal areas of Victoria. Marine industries such as ship and boat building rely on good quality castings for their machinery, equipment and fittings. Briggs Brass was especially formulated using non-ferrous metals to ensure their longevity. The patterns are associated with the long-running firm Briggs Brass Foundry that specialised in cast goods for the marine industry, ready to supply the needs for once-off or mass-produced items. Their products would have been fitted to sail and steam vessels along coastal Victoria including Warrnambool. Briggs Marine was also a bell-founder specialist and is also associated with the Schomberg Bell at Flagstaff Hill, having restored it to is former state as a fine example of the bell from a luxury migrant vessel from the mid-19th century. Pattern; pair of U-shaped carved blocks, unpainted. The blocks have opposing metal pins and holes to hold them together. One block has a disc shape carved into the base. The pattern is part of a set of foundry patterns from Briggs Brass Foundry.flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, briggs' bronze, traditional method, trade, sand cast, cast, brass alloy, copper alloy, pattern, mould, foundry, brass foundry, metal foundry, casting, sand mould, sand casting, marine equipment, marine tools, marine fittings, copper tin zinc lead, non-ferrous, non-corrosive, brassware, metalware, foundering, metalwork, maritime, bell founders, ship chandlers, marine products, biggs, briggs family, herbert harrison briggs, h h briggs, george edward briggs, cyril falkiner mckinnon briggs, cyril briggs, briggs & son brass foundry, h h briggs & sons foundry, briggs marine, alliance casting & engineering solutions, grassmere cheese factory, cornish chimney, curved bricks, collingwood, moorabbin, collingwood foundry, moorabbin foundry, 1912 -
Flagstaff Hill Maritime Museum and Village
Equipment - Foundry Patterns set, Briggs Brass Foundry, Early 20th century
The wooden crate contains a set of patterns or moulds that were once used at Briggs’ Brass Foundry for making sand moulds. The traditional method of sand casting is over 2000 years old. It is part of a crafted process used to make brass and copper alloy goods suited to marine use; bells, boat hooks, cowls, propellers, handles, lids, rowlocks, hooks, letters, bolts, rail holders, brackets, deck plates, flanges, rudder guides, portholes and covers. Briggs’ Bronze is a copper-based alloy made from local ingots of copper, tin, zinc and lead in carefully measured quantities. The finished product is non-corrosive and can last indefinitely. The crate of patterns was donated by the Briggs family in the early years of Flagstaff Hill, along with other related items such as brassware, tools and machinery. The donated items were displayed in a simulated Brass Foundry in the Village. The items were on show from the completion of the building in 1986 until 1994 when the building was repurposed. The patterns represent the trades of foundering and metalwork, both supporting maritime industries such as shipwrights and boatbuilders. Farmers, manufacturers and other local industries also needed the castings made by foundries. The Brass Foundry display was one of the early ‘working craft’ shops at Flagstaff Hill. It included a historic Cornish chimney that was set up as a working model, telling the story of heat from furnaces to smelt metal, which would then be poured into the sand moulds. This chimney is made from specially curved bricks and is about two-thirds of its full height when originally located at the Grassmere Cheese factory. HISTORY of BRIGGS BRASS FOUNDRY: - The family business was founded in 1912 by Herbert Harrison Briggs (1963-1931) with his son George Edward Briggs, trading as Briggs & Son Foundry at 70 Wellington Street, Collingwood. Younger son Cyril Falkiner McKinnon Briggs joined the foundry in 1922, and it was renamed H H Briggs & Sons Foundry. Both sons ran the firm after Herbert’s death in 1931, making products mainly for marine purposes. They became Bell Founders in 1936 and were known for their specialty of high-quality ship bells. They produced miniature varieties of these and other decorative items such as small propellers. The firm became known as Briggs Marine Foundry. The great-granddaughter of Herbert Briggs inherited the Briggs Brass Bell, similar to the one at Flagstaff Hill. Cyril became the sole family member of the firm in 1965. The Briggs Marine was an exhibitor at the 1965 Boat Show, where he advertised as “non-ferrous founders” and “Bell Specialists”. The foundry relocated to Chesterville Rd, Moorabbin. Cyril passed away in 1967. It is thought that either Cyril or his business partner Frank Lee donated the objects from the Briggs’ Foundry around the time when the business moved to Moorabbin. However, Flagstaff Hill hadn’t been thought about until 1972. The donated items were registered in the Collection in 1986 but they could have been in storage from an earlier date. In October of that same year, Briggs Marine restored Schomberg Bell, a shipwreck artefact from the collection at Flagstaff Hill. Peter Oram, who had worked for the previous owners of Briggs Marine as a fitter and turner, took over the firm in 2014, reviving some of the old casts for current use. The business is now located at Seaford in Victoria and is part of Alliance Casting & Engineering Solutions (Alliance Casting Pty Ltd). In 2016 the original Collingwood Foundry building was repurposed as a thriving business hub named The Foundry. The crate and its patterns are significant for their association with brass foundries locally and generally in coastal areas of Victoria. Marine industries such as ship and boat building rely on good quality castings for their machinery, equipment and fittings. The patterns are associated with the long-running firm, Briggs Brass Foundry, that specialised in cast goods for the marine industry, ready to supply the needs for once-off or mass-produced items. Their products would have been fitted to sail and steam vessels along coastal Victoria including Warrnambool. Briggs Marine is also associated with the Schomberg Bell in Flagstaff Hill, restoring the bell to is former state to show an example of the bell from a luxury mid-19th century vessel. The craft of sand-casting from carved wooden patterns to create metal is an example of skills from the past that are still used today. Wooden rectangular crate with removable wooden lid. Inside is a set of wooden patterns of various shapes and sizes for making sand moulds in a metal foundry. The crate is made from thick wooden planks nailed together. The extended wooden struts on the long sides form a frame to hold the wooden lid. A pair of metal handles are at each short end of the crate, fixed with strong metal bolds. Between each pair of handles is an inscription stamped into the wood. The underside of the crate has red paint splashes. There are insect holes in the wood but no sign of current infestation. Stamped: "H.33 / II" (H may be N or a square B)flagstaff hill maritime museum and village, great ocean road, shipwreck coast, pattern, mould, foundry, brass foundry, metal foundry, crate, box, wooden container, briggs, traditional method, trade, sand cast, cast, brass alloy, copper alloy, marine equipment, marine tools, marine fittings, briggs' bronze, copper tin zinc lead, non-corrosive, briggs family, brassware, metalware, foundering, metalwork, maritime, casting, cornish chimney, curved bricks, grassmere cheese factory, 1912, herbert harrison briggs, h h briggs, george edward briggs, briggs & son foundry, collingwood, cyril falkiner mckinnon briggs, cyril briggs, h h briggs & sons foundry, bell founders, schomberg bell, alliance casting & engineering solutions, collingwood foundry, ship chandlers, marine products, flagstaff hill, warrnambool, maritime museum, maritime village, briggs & son brass foundry, briggs marine, moorabbin -
Flagstaff Hill Maritime Museum and Village
Equipment - Pattern, Briggs Brass Foundry, Early 20th century
The wooden pattern is part of a set that are stored in a strong wooden crate. It was used at Briggs’ Brass Foundry for making sand casts. The traditional craft of sand casting is over 2000 years old. The handcrafted process produces brass and copper alloy goods that are well suited to marine use; bells, boat hooks, cowls, propellers, handles, lids, rowlocks, hooks, letters, bolts, rail holders, brackets, deck plates, flanges, rudder guides, portholes and covers. Briggs’ Bronze mixture is a copper-based alloy made from local ingots of copper, tin, zinc and lead in carefully measured quantities. The finished product is non-ferrous and can last indefinitely. The crate of patterns was donated by the Briggs family in the early years of Flagstaff Hill, along with other related items such as brassware, tools and machinery. The donated items were displayed in a simulated Brass Foundry in the Village along with other working crafts, trades and services found in a Maritime town. The items were on show from the completion of the building in 1986 until 1994 when the building was repurposed. The patterns represent the trades of foundering and metalwork, both supporting maritime industries such as shipwrights and boatbuilders. Farmers, manufacturers and other local industries also needed the castings made by foundries. The Brass Foundry included a historic Cornish chimney set up as a working model, to tell the story of smelted metal heated in furnaces then be poured into the sand moulds. This chimney was made from specially curved bricks and is now about two-thirds of its full height when originally located at the Grassmere Cheese factory. The craft of sand-casting from carved wooden patterns to create metal is an example of skills from the past that are still used today. The foundry pattern set is significant for its association with brass foundries locally and generally in coastal areas of Victoria. Marine industries such as ship and boat building rely on good quality castings for their machinery, equipment and fittings. Briggs Brass was especially formulated using non-ferrous metals to ensure their longevity. The patterns are associated with the long-running firm Briggs Brass Foundry that specialised in cast goods for the marine industry, ready to supply the needs for once-off or mass-produced items. Their products would have been fitted to sail and steam vessels along coastal Victoria including Warrnambool. Briggs Marine was also a bell-founder specialist and is also associated with the Schomberg Bell at Flagstaff Hill, having restored it to is former state as a fine example of the bell from a luxury migrant vessel from the mid-19th century.Pattern; hexagonal wooden shape painted orange. The thick carved wooden shape is in halves forming a hole when locked together with the dowel pegs and opposing drilled holes. The pattern is part of a set of foundry patterns from Briggs Brass Foundry.flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, briggs' bronze, traditional method, trade, sand cast, cast, brass alloy, copper alloy, pattern, mould, foundry, brass foundry, metal foundry, casting, sand mould, sand casting, marine equipment, marine tools, marine fittings, copper tin zinc lead, non-ferrous, non-corrosive, brassware, metalware, foundering, metalwork, maritime, bell founders, ship chandlers, marine products, biggs, briggs family, herbert harrison briggs, h h briggs, george edward briggs, cyril falkiner mckinnon briggs, cyril briggs, briggs & son brass foundry, h h briggs & sons foundry, briggs marine, alliance casting & engineering solutions, grassmere cheese factory, cornish chimney, curved bricks, collingwood, moorabbin, collingwood foundry, moorabbin foundry, 1912 -
Flagstaff Hill Maritime Museum and Village
Equipment - Pattern, Briggs Brass Foundry, Early 20th century
The wooden pattern is part of a set that are stored in a strong wooden crate. It was used at Briggs’ Brass Foundry for making sand casts. The traditional craft of sand casting is over 2000 years old. The handcrafted process produces brass and copper alloy goods that are well suited to marine use; bells, boat hooks, cowls, propellers, handles, lids, rowlocks, hooks, letters, bolts, rail holders, brackets, deck plates, flanges, rudder guides, portholes and covers. Briggs’ Bronze mixture is a copper-based alloy made from local ingots of copper, tin, zinc and lead in carefully measured quantities. The finished product is non-ferrous and can last indefinitely. The crate of patterns was donated by the Briggs family in the early years of Flagstaff Hill, along with other related items such as brassware, tools and machinery. The donated items were displayed in a simulated Brass Foundry in the Village along with other working crafts, trades and services found in a Maritime town. The items were on show from the completion of the building in 1986 until 1994 when the building was repurposed. The patterns represent the trades of foundering and metalwork, both supporting maritime industries such as shipwrights and boatbuilders. Farmers, manufacturers and other local industries also needed the castings made by foundries. The Brass Foundry included a historic Cornish chimney set up as a working model, to tell the story of smelted metal heated in furnaces then be poured into the sand moulds. This chimney was made from specially curved bricks and is now about two-thirds of its full height when originally located at the Grassmere Cheese factory. The craft of sand-casting from carved wooden patterns to create metal is an example of skills from the past that are still used today. The foundry pattern set is significant for its association with brass foundries locally and generally in coastal areas of Victoria. Marine industries such as ship and boat building rely on good quality castings for their machinery, equipment and fittings. Briggs Brass was especially formulated using non-ferrous metals to ensure their longevity. The patterns are associated with the long-running firm Briggs Brass Foundry that specialised in cast goods for the marine industry, ready to supply the needs for once-off or mass-produced items. Their products would have been fitted to sail and steam vessels along coastal Victoria including Warrnambool. Briggs Marine was also a bell-founder specialist and is also associated with the Schomberg Bell at Flagstaff Hill, having restored it to is former state as a fine example of the bell from a luxury migrant vessel from the mid-19th century. Pattern; round wooden shape with a wide concave centre and a round flat handle in the middle, painted dark brown. The underside has a large wooden disc added to the centre. The pattern is part of a set of foundry patterns from Briggs Brass Foundry.flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, briggs' bronze, traditional method, trade, sand cast, cast, brass alloy, copper alloy, pattern, mould, foundry, brass foundry, metal foundry, casting, sand mould, sand casting, marine equipment, marine tools, marine fittings, copper tin zinc lead, non-ferrous, non-corrosive, brassware, metalware, foundering, metalwork, maritime, bell founders, ship chandlers, marine products, biggs, briggs family, herbert harrison briggs, h h briggs, george edward briggs, cyril falkiner mckinnon briggs, cyril briggs, briggs & son brass foundry, h h briggs & sons foundry, briggs marine, alliance casting & engineering solutions, grassmere cheese factory, cornish chimney, curved bricks, collingwood, moorabbin, collingwood foundry, moorabbin foundry, 1912 -
Flagstaff Hill Maritime Museum and Village
Equipment - Pattern, Briggs Brass Foundry, Early 20th century
The wooden pattern is part of a set that are stored in a strong wooden crate. It was used at Briggs’ Brass Foundry for making sand casts. The traditional craft of sand casting is over 2000 years old. The handcrafted process produces brass and copper alloy goods that are well suited to marine use; bells, boat hooks, cowls, propellers, handles, lids, rowlocks, hooks, letters, bolts, rail holders, brackets, deck plates, flanges, rudder guides, portholes and covers. Briggs’ Bronze mixture is a copper-based alloy made from local ingots of copper, tin, zinc and lead in carefully measured quantities. The finished product is non-ferrous and can last indefinitely. The crate of patterns was donated by the Briggs family in the early years of Flagstaff Hill, along with other related items such as brassware, tools and machinery. The donated items were displayed in a simulated Brass Foundry in the Village along with other working crafts, trades and services found in a Maritime town. The items were on show from the completion of the building in 1986 until 1994 when the building was repurposed. The patterns represent the trades of foundering and metalwork, both supporting maritime industries such as shipwrights and boatbuilders. Farmers, manufacturers and other local industries also needed the castings made by foundries. The Brass Foundry included a historic Cornish chimney set up as a working model, to tell the story of smelted metal heated in furnaces then be poured into the sand moulds. This chimney was made from specially curved bricks and is now about two-thirds of its full height when originally located at the Grassmere Cheese factory. The craft of sand-casting from carved wooden patterns to create metal is an example of skills from the past that are still used today. The foundry pattern set is significant for its association with brass foundries locally and generally in coastal areas of Victoria. Marine industries such as ship and boat building rely on good quality castings for their machinery, equipment and fittings. Briggs Brass was especially formulated using non-ferrous metals to ensure their longevity. The patterns are associated with the long-running firm Briggs Brass Foundry that specialised in cast goods for the marine industry, ready to supply the needs for once-off or mass-produced items. Their products would have been fitted to sail and steam vessels along coastal Victoria including Warrnambool. Briggs Marine was also a bell-founder specialist and is also associated with the Schomberg Bell at Flagstaff Hill, having restored it to is former state as a fine example of the bell from a luxury migrant vessel from the mid-19th century. Pattern; an unpainted, rectangular wooden frame with a top and sides, similar to a small rectangular stool. A solid half-cylinder shape was added under the horizontal 'seat' with another smaller half-cylinder attached to it, end-to-end. A string is tied between two metal loops attached to the back. There are two X marks stamped into the back. The pattern is part of a set of foundry patterns from Briggs Brass Foundry.Stamped: "X" "X"flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, briggs' bronze, traditional method, trade, sand cast, cast, brass alloy, copper alloy, pattern, mould, foundry, brass foundry, metal foundry, casting, sand mould, sand casting, marine equipment, marine tools, marine fittings, copper tin zinc lead, non-ferrous, non-corrosive, brassware, metalware, foundering, metalwork, maritime, bell founders, ship chandlers, marine products, biggs, briggs family, herbert harrison briggs, h h briggs, george edward briggs, cyril falkiner mckinnon briggs, cyril briggs, briggs & son brass foundry, h h briggs & sons foundry, briggs marine, alliance casting & engineering solutions, grassmere cheese factory, cornish chimney, curved bricks, collingwood, moorabbin, collingwood foundry, moorabbin foundry, 1912 -
Flagstaff Hill Maritime Museum and Village
Equipment - Pattern, Briggs Brass Foundry, Early 20th century
The wooden patterns are part of a set that are stored in a strong wooden crate. It was used at Briggs’ Brass Foundry for making sand casts. It may fit together with one of the other patterns with a similar outline. The traditional craft of sand casting is over 2000 years old. The handcrafted process produces brass and copper alloy goods that are well suited to marine use; bells, boat hooks, cowls, propellers, handles, lids, rowlocks, hooks, letters, bolts, rail holders, brackets, deck plates, flanges, rudder guides, portholes and covers. Briggs’ Bronze mixture is a copper-based alloy made from local ingots of copper, tin, zinc and lead in carefully measured quantities. The finished product is non-ferrous and can last indefinitely. The crate of patterns was donated by the Briggs family in the early years of Flagstaff Hill, along with other related items such as brassware, tools and machinery. The donated items were displayed in a simulated Brass Foundry in the Village along with other working crafts, trades and services found in a Maritime town. The items were on show from the completion of the building in 1986 until 1994 when the building was repurposed. The patterns represent the trades of foundering and metalwork, both supporting maritime industries such as shipwrights and boatbuilders. Farmers, manufacturers and other local industries also needed the castings made by foundries. The Brass Foundry included a historic Cornish chimney set up as a working model, to tell the story of smelted metal heated in furnaces then be poured into the sand moulds. This chimney was made from specially curved bricks and is now about two-thirds of its full height when originally located at the Grassmere Cheese factory. The craft of sand-casting from carved wooden patterns to create metal is an example of skills from the past that are still used today. The foundry pattern set is significant for its association with brass foundries locally and generally in coastal areas of Victoria. Marine industries such as ship and boat building rely on good quality castings for their machinery, equipment and fittings. Briggs Brass was especially formulated using non-ferrous metals to ensure their longevity. The patterns are associated with the long-running firm Briggs Brass Foundry that specialised in cast goods for the marine industry, ready to supply the needs for once-off or mass-produced items. Their products would have been fitted to sail and steam vessels along coastal Victoria including Warrnambool. Briggs Marine was also a bell-founder specialist and is also associated with the Schomberg Bell at Flagstaff Hill, having restored it to is former state as a fine example of the bell from a luxury migrant vessel from the mid-19th century. Pattern; a pair of blocks that form a rectangle with a carved centre hole and disc shape inside. The block is made from laminated pieces of wood with cut corners. Both sides have four drilled holes in a square configuration but in different positions. The cut faces and the space carved into them are painted red; one piece has two dowel pins that fit into two drilled holes on the other. The pattern is part of a set of foundry patterns from Briggs Brass Foundry.flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, briggs' bronze, traditional method, trade, sand cast, cast, brass alloy, copper alloy, pattern, mould, foundry, brass foundry, metal foundry, casting, sand mould, sand casting, marine equipment, marine tools, marine fittings, copper tin zinc lead, non-ferrous, non-corrosive, brassware, metalware, foundering, metalwork, maritime, bell founders, ship chandlers, marine products, biggs, briggs family, herbert harrison briggs, h h briggs, george edward briggs, cyril falkiner mckinnon briggs, cyril briggs, briggs & son brass foundry, h h briggs & sons foundry, briggs marine, alliance casting & engineering solutions, grassmere cheese factory, cornish chimney, curved bricks, collingwood, moorabbin, collingwood foundry, moorabbin foundry, 1912 -
Glen Eira Historical Society
Book - Glen Huntly State School No.3703 Grange Road
A 190 page book called The Story So Far 1914-2009 – The History of Glen Huntly Primary School No.3703, by Shirley A. Mriams. The book gives a very detailed history of the school’s early history. It includes head teachers/principals and the school’s progress through each decade to 2009. The remaining chapters give 2009 student roll call, citizenship awards, house competition awards, music awards, sporting awards, encouragement, swimming and musical productions, notable past students and teachers, bibliography and sponsors. There are many photos and school plans as well.glen huntly, glen huntly primary school, glenhuntly primary school, mirams shirley a., glenhuntly printing works, printing industry, from the earth fruit and veg., glenhuntly state school, greengrocers, king stephen, king design, alessi libby, principals, mcgowan keith, radio broadcasting, hunt sydney, forbes c., ramsay m., primary schools, glenhuntly state school, jenkin william, bryant a., orames mr, morrison r., christensen t., doggett j., rogers a., fink r., terrill f., mitchell j., cravine e., mcrae w., cooper l., chernside c., silva a.j., dolphin w., crampton colin, wilson wendy mrs, glenhuntly road, glen huntly, clerk's estate, subdivisions, glen huntly clerk's settlement, carnegie school no. 2897, world war 1914-1918, gardens, mothers clubs, world war 1939-1945, poliomylitis, rural training school, traffic signals, films, 'slow bike race', parents and friends association, after school program, fires, 'links' magazine, choirs, disadvantaged schools program, school plays, 'germs', 'garden folk', festivals and celebrations, japanese internship program, 'kids in space', 'dragon girl', 'fish 'n' ships', murals, wendy wilson music award, fetes, lord reserve, carnegie, australian natives association, congregational chuch sunday school hall, martell e miss, garden avenue, grange road, salvation army halls, halls, glenhuntly road, wanalta road, williamson alex, williamson jean, williamson gordon mccrae, school rolls, le brocq john, cockfield douglas r., grogan allen, mathiesson edward, johnston ronald frank, harris george, money neil robert, fraser eric, munro john, hyland hector thos., gibson wilfred john, eliason francis, scarles john robert, wallace andrew, henning george frederick, maryson sydney, petherbridge c., whitfield j., edward lee, queen alexander, carnegie state school, madden frank sir, parliamentary representatives, bank of new south wales, charles ernest, wallace andrew james, hunt chas. hogarth, williams stanley f., tester thomas george, henstridge john, henstridge reginald, johnston travis andrew, nixon alexander, lewis victor, dalton john, arthurs violet grace, browning leslie george, carroll eric harry, dobson keith george, evans george w.m., eyres annie may, hogg lillian, hunt alfred w.m., johnson henry, jones dorothy minnie, love helvic agnes, lyons gordon, lyons vera, parsons eric robert, dickens gordon percy, smith elva beatrice, harry david, westcott harold norton, westcott ormond chs., bremner marie, entertainers, williamson alex mccrae, ransay albert, caulfield town hall, green ethel, hawthorn alice, reynolds emma a., potter thelma, potter phyllis, anderson elsie m., girdwood stella, bastin may, murphy dorothy g., southern mary, mcleod gwen, ezard gladys m., hood emily vera, thorne eileen isobel, robinson noel, monckton marjorie, mrs hannigan's tuckshop, foley children, lord mr., bladin francis, tomlinson jean, jenkins vern, williamson jean, forty alan, rhinefield mr, bennett mary, brabham laurel, swain george, reynolds mille, gill harry, williamson g., cockfield winifred, baird beth, king elsie, challman miss, glen huntly 'drum and file' school band, larkin aircraft supply company, sugarworks swamp, lemans swamp, lyons streets, morgan streets, miller street, lizars linda, brown allan sir, hurie gladys, simpson peggy, royal ave., garden ave., tennis courts, lander h.j., castledine f.r., henning a.s., glen huntly progress association, harboard joan, mullins mr, pountney dorothy, daley beryl, marching clubs, findlay joyce, green lionel, charles ern, bennett mary, shelter sheds, blanchfield mr bakers, donoald mr grocers, walburn rhoda, harris shirley, treyvaud mr, hale maxwell, painter ken, allan mr ('fatty'), proven mr, ross mrs, nye margaret, nally ware beaker, monuments and memorials, graham bruce, 'bulldog drummond', learmonth mary, bullock margaret, o'shea annie, tattersall dawn, jenkins betty, lighton robert, bruce peter, love grace, love family, judd margery, gardiner elsie, gardiner sadie, glen eira dairy, vanston dorothy, barton cynthia, tipping mr, drummond mr, hambly chrissy, shrives kathleen, hutton beverly, miller kenneth deering, callender mr bakers, cook miss, nunn john athlete, andrews ailsa (nee mcgregor), fraser wally, vickers madeline, vickers john, scanlon mr, malcolm miss, brown barbara (nee holland), pepper miss, burns miss, mclaren miss, beadman jim athletics, robinson noel, crompton neal sportsperson, wilkinson graham, neilson ray, byers barry, bryant tony referee, murray bob, burton pam, pappas george, burke b. mrs, neville street, smith harvey, o'donnell mrs, kivlighon mr, grierson wendy, evans yvonne, squires doreen, squires kathy, jenvey stewart, baxter john, coenen eddie maintenance workers, byrne carol, williams pamela, zari austin (nee coenen), furney janet, dodds mrs, mitchell j., bell r., forsyth e. miss, mitchell neil, radio broadcasting, burke m., boatman r., garfield d., harris e. mrs, sherman m. mrs, carolan e., gunthorp b., barnes john, barnes joan, ellis christine, kossatz mr, black miss, lader mrs, franghis peter, parnell dennis, revens ester, young vivian, mclean bernice, tattersal lorna, geddes rae, hocking malcolm, cusworth peter, christie glenn, watt richard, conway gred, hand graham, mcgowan e., parnell j., mcguire n, hare john, prest margaret, forrester david, mitchell eric, cordingley mrs, waterworth mr, cohen mr, rankin fiona, christiansen mr, boatman mr, dougan mrs milkbars, dougan barry, suttie richard, parnell bruce, silverman judy, king jenny, saxon sally, king nicolette, maxwell heather, saxon jill, vincent russell, saxon rosemary, murray bob, saxon david, miller bill, hill sally-ann, hesline sandra, raspberger cynthia, nightingale mrs district remedial centre, smith mrs, district language consultant, robertson gabrielle, mclennan matthew, goloub kin lyn, jarrett mavis, schafer dianne, commerford pip, mcdougall carlene, anderson jack, hawthorne russell, callahan evelyn, zagami maria, bremner elizabeth, braun tiki, berman claudine, briggs margaret, brady sue, shaw melissa, henham ravena, cooper tania, de abrev connie, brodie joanne, macdonald leighan, mccallum margaret, beddoe john, mcdonald mr council employee, clift andrew, ash steven, lowndes nerida, wysocki b., drough h., grossbard j., locke j., cox l., morey l., clifton p., short b., herszberg n., clift debbie, fuk michael, theodosopoulos haria, shrives jean (nee tomlison), forty alan, geiger irit, roach sally, hillis rachael, roache donna, dixon wendy, bayliss curtis, pregnall joy mrs, slocum mrs, nelson glenda, rubinstein morrie, lurkey dianne, mcminn michael, arneil barbara, mick rose, mell and alice, brayton andrea, moorhead k. rev, brownhill e., lolas heather mrs, regan bernie cleaner, hopkins a. mrs, dewar leon, school crossings, darak diana, eddey diana, pregnall max, eppinger rosy, stacy paul, douvitsas chris, maycock kelly, bunyan liza, johansen eva, siaosi jackie, don kerrie, smyth ruth, bruce julie, mcgregor lorraine, mcallister peter, nelson g., knight sue, mackey s., mackinnon julie, mccallum margaret, johannsen j., herzberg n., hall k, jarrett m., johns w., beddoe john, wilson w., dayble l., thomas helen, ogura etsuko, coxon diane, guttman emmy, garg sangeeto, kennedy robyn, coleman heidi, thompson vic, currie sioux, arnold eve mrs, beddoe mr, mckay sara, skilney tamara, zent mandy, sassos eugenia, manvel bill, lewis pam, rothstadt kaye, clerehan jane, watson simon, daw josie, strong helen, craig caroline, devasagayam kenny, bell peter, palanarezuk fiona, suttie mitchell, mirians shirley, prest marg, condon gabrielle, pitkin sigrid, wilson heather, don paul, thursfield william, footballers, ormond junior football club, rothstadt david, bruce julie, fallu jackie, patterson denise, trantor debbie, nakamura nozomi, christensen tanya, james-clark spencer, eppinger rosy, matsumoto minako, osborne cheryle, john beddoe meritorious sporting student award, sunderland pippa, schleiger emma, paulusz chris, hollingworth kyle, griffiths david, cooper cameron, jewel andrew, nannegaril (nick) abhishek, marshall joel, hodden leigh, meyer tony, te hennepe michael, zimbachs trent, chavili praveen, listmangof mark, sampson tim, sayfer daniel, mest jack, crampton colin, crampton andrew, hemming beth, dean deirdre, wong melissa, arneil christopher, friedman adam, sonnberger leonie, mackey suzanne, clarke heather, fernando gyan, horvath eva, horvath melissa, horvath natalie, rowe rebecca, taylor yani, robinson tess, nolan rebecca, hollingworth mamie, trigellis-smith anna, zhou cindy, jenvey olivia, smith yasminka, hemming caitlin, gale elke, johnson christopher, dalton lyndsay, perish james, seddon anna, webster teagan, stratford sachi, zhuang yvette, taylor katherine, tettennepe simon, hu kevin, thursfield oliver, beycher sonny, gavland angelene, fotopoulos daisy, mcclelland letty, king sierra, sargeant kolly, hodden melissa, picking kate, brasic lisa, mcclelland cassie, cummins alexandra, jamieson laura, cashen lanaya, rowe angela, georgiou jonathon, pejovic maja, luv aileen, hoskin yumika, bishop amy, tweed jacqueline, corrales mariana, williams kendall, jewell bethany, friedman sara, golden phoebe, mellios lauren, sayfer charlene, bell daniel, glagovski anton, ring hannah, aldred jasmin, sisson laura, king janine, allen robbie, taylor xavier, trigellis-smith colin, italia paula, tamura naoko, eddy diane, paterson denise, clarke heather, hemming beth, wilson wendy, wallace gaye, moore denis, plumb rochellee, schmauder debra, taylor kathrine, gale elke, taylor yani, sisson laura, fotopoulos daisy, zuccala lyn, smith phyllis, katz lily, sonnberger leonie, quail janine, prest margaret, zhang karen, indukuri gita, prest duncan, prest julieann, dureau sally, hopkins anna, baligod imelda, fallon kerry, bjelanovic danijela, james-clark laura, magnani lisa, phillips kathy, bell hilary, bakshi jasmeet, james-clark spencer, james-clark mason, james-clark stella, fitzgerald kerrie, krawze kamila, czech jon, lee maria, boell jacqueline, schmauder debra, georgiou martha, randles yvonne, smyth ruth, florrimell sean, ryan patrick, rossjohn sian, eppinger rosy, melenhurst bradley, melenhurst ashley, melenhurst christopher, silva katie, richards michael, garner jenny, bucher peter, gleitzman morris author, zhou jun, cook andrew, memorial services, funerals, wendy wilson hall, rossjohn jamie, earls tom, nicholls stephanie, vagner natasha, anderson pam, hall aileen, grose jenny, dalton sue, bejers maya, paterson denise, witte david, lath natalie, dalmau jessica, darras irene, miljus max, moritmitsu ran, zhou yida, barns sue, varbaro bianco, howell alan, lath miss, jacobs john, tinetti amy, maloney matthew, petrovic vida, bruce julie, bonner angie, porter ros, hill andrea, hocking hazel, jozsa zara, wishart jan, guyer noeline, powell bruce, hopkinson judy, mccrae glenys, mccrae beverly, james margot, barns tony, barns joan, ryan ann artist, jenek alex, jozsa olivia, woods caitlin, ledda daniel, cook andrew, rossjohn bevan, aunavarapu ashray, loveas paul, beiers mariel, allan gemma, squires rhoda, squires garry, squires terry, squires lesley, squires rhonda, squires doreen, squires peter, squires kathy, king sierra, king tynan, king mackenzie, king harrison, king shuyler, allen robbie, allen jessica, allen samantha, dale sheridan, dale caroline, dale elliot, dale taylor, dale clark, woodards carnegie auctioneers, roberts ruth, mckenzie's ward, glenhuntly fruit supply, ceudet and kubeyde, subway glenhuntly, alessi libby mrs, manuel bill mr, bruce julie ms, jacobs john mr, paterson denise mrs, thompson vic mr, sonnberger leonie mrs, sassos eugenia mrs, witte david mr, krauze maila ms, tinetti amy ms, bower jessica mrs, fitzgerald kerrie mrs, eppinger rosie mrs, vagner natasha mrs, zent mandy mrs, james-clark laura mrs, fallon kerry mrs, grose jenny mrs, bonner angie mrs, miriams shirley mrs, petrovic vida mrs, maloney matthew mr, bakshi jameet mr, smyth-kinyua ruth mrs, fitzpatrick tom mr, watson scott mr, theodore kate ms, porter ros ms, hill andrea ms, howell alan mr, schauder emma mrs, jozsa george mr, bitmead claire mrs, bader linda ms, jacobs john mr, bhuteja raza, rossjohn bevan, christensen lara, dale clark, chong aldwin, barns-dunne genevieve, guy cleo, georgiou demetrius, allen gemma, arunachalam elanthendral thiruavani, chau samantha, foldvari miro, gade saathvika, ghafari mohid, jones alvin, korres johnny, margaritis evan, pickering finley, schauder daniel, shah hisha, shermis-fox dalvin, thorat sahil, zhong emma, arunkumar mitali, baxi vaasu, bhadra rushil, chevalier stefanie, bitmead rose, cooper brittany, jozsa zara, croes sonny, gil harnoor, koika akito, gitein iris, matthews benjamin, moses lior, gupta anushka, nematy keanu, jaiswal sanjana, makwana yash max milius, o'donoghue romy, patel vishesh, nalamati anushka, paul aaron, obsioma jarred, pavlich nicola, rizk taran, schauder ben, shah vansh, stuart isobel, yadavalli sriprada, sharma shreya, tut nyajania, zhao max, abeyesekerea gail, attanayake nikeesha, behl shaurya, desai noopur ankoor, espinosa daphne, kansara kesha, kantheti sai rithvik, malakar ishan, manion freya, mohammed zoheb, morimitsu ran, moshe sarit, peri varsha, reutskiy yael, ryan harrison, shah jahanvi, wallis hannah, woods liam, bhuteja raza, belyuga lachlan, chen linda, bikovsky alexander, das sanchali, bitmead william, ghafari malaika, cherukuihota ritish, jenek alex, chintala aditi, lvovsky jeremy, dumnounkan nicky, mazzocchi ashleigh, el shorbagy hanna, mohammed zeeshan, foldvari phoebe, nekkadapu prava, gill armann, obsioma joseph, harper tyler, pickering jasper, kanapathippillai noah, pronina anja, kat jemma, pudikova veronika, king schuyler, reutskiy nicole, nikitin daniel, rossjohn bevan, o'connor finnian, schauder hannah, parsons zoe, shaked natalie, shang alexander, sharmila ajit aaditya arya, shulz david, siah sunny, singh gab, woods caitlin, wallis eliza, yang jee, zhong michelle, zhang alan, zhou stella, zhang betty, arjuna vicknan, arunachalam thirumagal, bahambhani yog, christensen lara, dale clark, hoenig tess, jozsa olivia, knelle louise, kwon minchol, lin angelina, milyus sophie, modi dhriti, morimitsu rin, moses nikol, noh yuhan, raghav devrath, rule darcy, tran cindy, trivedi namit, vayenas christina, vaz adonis, vortman david, allan liam, annavarapu ashrey, attanayake akeshi, capicchiano rose, chilakamarri nikhil, davis oliver, forti kate, guo maggie, guy cleo, james zoe, jenek ada, kalra pravav, king harrison, lin angelo, lin anita, melenhorst bradley, melenhorst christopher, metzler jessica, moses tomer, perelman michael, ryan patrick, wheatley nathaniel, allen gemma, bailey crystal-lee, gan tina, georgiou demetrius, ghafari kainat, grigorian nick, hackshaw chris, howell benjamin, kuznetsov ilya, luo eileen, luo elaine, margaritis mary-anne, melenhorst ashley, morimitsu rui, omer-cooper james, ozgur batuhan, salathiel matthew, vayenas paulina, wang qi wei, ward monica, arabena. brittany, bader-mcdowell alexander, barns-dunne genevieve, beiers mariel, chilcott rose, chong aldwin, cook andrew, dale taylor, dalton eamon, durant demeke, horn jade, iker korkhan, kat mariana, kwon so hyun, ledda daniel, loucas paul, panchal rajvi, ragozin vadim, reyer emma, song alex, varbara sovan, zhou james, robertson angela, henkul roland, hannagan cassie, rice elizabeth, ryan tammy, stacey paul, mason rebecca, ammendola marcella, moore m., copey n., priesner m., cotterell d., cohn adam, don paul, don kerrie, hanley alison, mckechnie brian, gowland rebecca, te hennepe daniel, schleiger emma, zimbachs trent, rowe rebecca, taylor katherine, beycher sonny, halliburton andrew, dureau thomas, dureau nicole, thursfield alexandra, allen courtney, willis isabelle, zhou jun, james-clark stella, melky michelle, willis ruby, earls tom, srinivasan lakshmi, zhou yida, te hennepe daniel, meyer tony, leiken nikita, thompson alex, te hennepe simon, johnson christopher, vassilopoulos michael, irwin christopher, asaturov gary, rossjohn sian, sangangum watsana, varbaro bianca, mitchell, hume, batman, brown robyn, maxwell jennifer, mclean jill, culpin howard, jones dennis, archer ?, lester phillip, taylor jennifer, anderson judith, ? bronwyn, hall robyn, powlett john, clark ross, taylor christine, booth peter, turner ian, porter larry, turner diane, anderson diane, scott megan, mclean david, christie donald, wishart philip, mottrim joan, christie coleen, travis bicki, watt elizabeth, richards michael, peet marily, sutherland fiona, ziegenbien kay, lester judith, kostamarkis con, yeoman keith, hastings ronald, ? mark, coenen zari, young vivian, young carolyn, weber elizabeth, child gary, cooper stephen, robertson james, ross dean, ? eve, cooper anne, saunders bruce, yeaman peter, wilkinson dawn, armstrong jeffrey, hill gregory, morris steven, suttie richard, silverman judy, king jenny, silverman sharon, broadmore janine, martin dean, smith robert, frommer ruth, saxon rosemary, justus heidi, o'keefe sue-ellen, robertson angela, young natalia, pigounis anthony, brodie anthony, henkul roland, duncan neil, cooper tania, brodie joanne, meerkin naomi, henham rowena, moulds adam, butterworth richard, kellis nick, tapai michael, goodwin sonia, clift debbie, hannagan shannon, marley kara, ceki tibor, ellis shaun, charleworth stewart, can bergeijk richard, schroor briony, leticq jeanette, davidson angela, kakos vicki, collins darren, mcfarlane matthew, adley hassan, agar james, rakonjac mileva, lowndes nereida, grimster jane, ? laurenne, mcdonell terry, clift andrew, perry timothy, rice martin, weir lisa, devasagayam briony, chatila nancy, melland alice, rakonjac nik, mcdonald brett, collins michael, rose darren, ryan tammy, rice elizabeth, hannagan cassie, mason rebecca, douvitasa chris, chivers scott, siaosi jack, stacey paul, moore matthew, coles lisa, diggins sebastian, barboussas costa, moulds johanna, brett travis, mcminn johanna, soloma tim, copey nicole, kakos peter, rontoyannis evan, mcdonald scott, pregnell ian, lowndes jared, kapetanos diane, ivkov srdjan, palamarczuk rosemary, cotterell diane, tonta amelia, craig caroline, yeun joseph, yusuf alham, quon kane, fiek peter, pitkin meryl, yarovsky julie, mckay sara, koger saskia, slocum tom, meyer sean, dunn nathan, vickers anthony, don paul, mason lulu, stanton bronwyn, hanley alison, don kerrie, kennedy chad, callaghan matthew, ghosh suvro, teteira jay, sargent kelly, hollingworth marnie, lack orry, wheeler ashley, trigellis-smith anna, hoskin tim, barda david, nolan rebecca, kulikov simon, kirkpatrick ryan, schleiger rudi, becker thomas, de lisle justin, taylor katherine, gale elke, te hennepe simon, ring hannah, stratford sachi, taylor yani, parish james, aldred jasmin, sisson laura, thursfield oliver, fotopoulos daisy, hoskin yumika, trigellis-smith colin, corrales mariana, soyfer charlene, moore vanessa, halliburton andrew, glagovski anton, johnson christopher, wheeler joel, taylor xavier, chapman jessica, ledda alexander, rowe angela, jewell bethany, goluguri pradeepthi, bell daniel, golightly callum, graham emily, mckechnie ellen, james-cark spencer, byrne david, parker natalie-lee, loucas david, pappas michael, gamble laurence, dureau thomas, loriot christina, drinozcky chloe, ring caitlin, robertson mitchell, pleysier yvonne, boghikian emie, sisson matthew, sanchez zanetta, rowe daniel, saunders john, cox josh, barda nick, dureau nicole, lenkiewicz justine, jamieson emily, mclaughlan kate, carpenter tess, vassilopoulos michael, jewell clare, gavnoudias james, matthews laura, georgiou costa, dale caroline, gamble kate, beiers hannah, james-clark mason, richardson zoe, thursfield alexandra, hosking kenta-neville, dounias theodore, annavaparu ramya, sinclair chloe, nolan megan, king tynan, tomlinson michael, allen courtnay, florrimell sean, ong kenny, foley patrick, gale emily, saunders alice, rowe michelle, willis isabelle, vassilopoulos alexandra, johnson bradley, borley genevieve, irwin christopher, earls thomas, matthews jessica, mudumbi venkatesh, lenkiewicz alice, king mackenzie, dounias christopher, beiers maya, dick alastair, levy matthew, srinivasan lakshmi, adams joshua, singh mia, borley natalie, varbaro bianca, christensen jade, willis ruby, sinclair emma, allen samantha, rossjohn sian, borley morgan, bader-mcdowell jeremy, chettimadda gopala kr yashas, anguswamy manoj, nekkadapu sankeerth, dalton kieran, allan tristan, gandham anoohya, arabena brittany, melenhorst ashley, vayenas paulina, dale taylor, bader-mcdowell alexander, omer-cooper james, reyer emma, kuznetsov ilya, metzler jessica, beiers mariel, forti kate, james zoe, annavarapu ashrey, ryan patrick, davis oliver, ilker korkhan, mcgowan keith, thursfield william, gribbin andrew, walsh-howling damien, scanlon alan, mitchell neil, brown allan, bruce peter, murray robert (bob), christensen tanya, de kretser jan, bremner marie, bayliss curtis, wheeler reece, symons red, de zilwa nick, byers gary, crompton neil, wilkinson graham, nilsson ray, bryant tony -
Bendigo Historical Society Inc.
Newspaper - JENNY FOLEY COLLECTION: SCHOOL'S IN
BHS CollectionBendigo Advertiser ''The way we were'' from 2003. School's in: Woodstock on Loddon state school no. 3492, in 1949. Back left to right: Merryn Bell, John Barry, Ellen Cooper, Reg Stone, George Hamilton. Front: Keith Burrows, Ron Bell, Margaret Bell, Lorna Hamilton, Grace Hamilton, Patricia Magee, Barbara Wishart, Graham Stone. The clip is in a folder.newspaper, bendigo advertiser, the way we were -
Bendigo Historical Society Inc.
Container - HARRIS COLLECTION: MATCHBOXES
R Bell was a company based in London. They decided to open a factory in Richmond, Melbourne in 1894/5 to produce wax tipped vestas (matches).10 cylindrical matchboxes. On the lid the name R.Bell & Co. Melbourne with a red ornate cross in the middle. 6 of the boxes contains matches, 4 are empty. On the cylinders lines in different colours. from George Harris estateephemera, mementoes, match box -
Bendigo Historical Society Inc.
Newspaper - JENNY FOLEY COLLECTION: DRESSED UP
BHS CollectionBendigo Advertiser ''The way we were'' from 2003. Dressed up: participants in the Laanecoorie CWA Debutants ball, circa 1956. Back row from left: Jim Dudley, Bruce Pollard, john Cole, George Hamilton, John Punton, Cedric Foulds, Brian Stone. Centre row: John Bell, Pam Montieth, Joyce McLean, Isabell Davies, Beverly Davies, Thelma Montieth, Jennifer Cain, Ian Hamilton. Front row: Joyce Curnow, Madge Edwards, Audrey McLean, Mrs. A. Brownbill, unknown, Janette Grylls, Edna Gallagher, Raymond Cornwall. The clip is in a folder.newspaper, bendigo advertiser, the way we were