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Bialik College
Document (Item) - The Magic Tram Bialik School Production documents, 1999
In 1999 Bialik students performed the play, The Magic Tram. This folder is an organisational item containing run sheets, costings, script costume notes, notes to parents. For permissions or access to this material contact the archive at [email protected]. The front cover has the words written, The Magic Tram, written on an angle, leaning left. theatre production, visual and performing arts, bialik college -
Flagstaff Hill Maritime Museum and Village
Container - Ink Bottles, Caldwell’s Ink Factory, Early 20th century
This crate of bottles may have come from a wholesaler, business, stationer or school. The design of the bottles is sometimes called a ‘cottage’ or ‘boat’ shape. Each of the 70 Caldwell’s handmade glass ink bottles was mouth-blown into a two-piece mould, a method often used in the mid-to-late 19th century. The glass blower burst the bottle off the end of his blowpipe with a tool, leaving an uneven mouth and sharp edge on the bottle, which was usually filed. The bottle was then filled with ink and sealed with a cork. More expensive bottles would have a lip added, which was more time-consuming and costly to produce. The capacity for a bottle such as this was about 3 ½ oz (ounces) equal to about 100 ml. Pen and ink have been in use for handwriting since about the seventh century. A quill pen made from a bird’s feather was used up until around the mid-19th century. In the 1850s a steel point nib for the dip pen was invented and could be manufactured on machines in large quantities. The nis only held a small amount of ink so users had to frequently dip the nib into an ink well for more ink. Handwriting left wet ink on the paper, so the blotting paper was carefully used to absorb the excess ink and prevent smudging. Ink could be purchased as a ready-to-use liquid or in powdered form, which needed to be mixed with water. In the 1880s a successful, portable fountain pen gave smooth-flowing ink and was easy to use. In the mid-20th century, the modern ballpoint pen was readily available and inexpensive, so the fountain pen lost its popularity. However, artisans continue to use nib pens to create beautiful calligraphy. Caldwell’s Ink Co. – F.R. Caldwell established Caldwell’s Ink Company in Australia around 1902. In Victoria, he operated from a factory at Victoria Avenue, Albert Park, until about 1911, then from Yarra Bank Road in South Melbourne. Newspaper offices were appointed as agencies to sell his inks, for example, in 1904 the New Zealand Evening Star sold Caldwell’s Flo-Eesi blue black ink in various bottle sizes, and Murchison Advocate (Victoria) stocked Caldwell’s ink in crimson, green, blue black, violet, and blue. Caldwell’s ink was stated to be “non-corrosive and unaffected by steel pens”. A motto used in advertising in 1904-1908 reads ‘Makes Writing a Pleasure’. Stationers stocked Caldwell’s products and hawkers sold Caldwell’s ink stands from door to door in Sydney in the 1910s and 1920s. In 1911 Caldwell promised cash for returned ink bottles and warned of prosecution for anyone found refilling his bottles. Caldwell’s Ink Stands were given as gifts. The company encouraged all forms of writing with their Australian-made Flo-Eesi writing inks and bottles at their impressive booth in the ‘All Australian Exhibition’ in 1913. It advertised its other products, which included Caldwell’s Gum, Caldwell’s Stencil Ink (copy ink) and Caldwell’s Quicksticker as well as Caldwell’s ‘Zac’ Cough Mixture. Caldwell stated in a 1920 article that his inks were made from a formula that was over a century old, and were scientifically tested and quality controlled. The formula included gallic and tannic acids and high-quality dyes to ensure that they did not fade. They were “free from all injurious chemicals”. The permanent quality of the ink was important for legal reasons, particularly to banks, accountants, commerce, municipal councils and lawyers. The Caldwell’s Ink Company also exported crates of its ink bottles and ink stands overseas. Newspaper advertisements can be found for Caldwell’s Ink Company up until 1934 when the company said they were the Best in the business for 40 years.This large collection of similar ink bottles is of particular significance as the bottles have come from the same source, most have their original corks and some retain their original labels, which is rare. The method of manufacture of these bottles is also representative of a 19th-century handcraft industry that is now been largely replaced by mass production. The bottles and their contents are of state significance for being produced by an early Melbourne industry and exported overseas. This case of ink bottles is historically significant as it represents methods of handwritten communication that were still common up until the mid-20th century when fountain pens and modern ballpoint pens became popular and convenient and typewriters were becoming part of standard office equipment.Ink bottles in a wooden crate; 70 rectangular, hand-blown clear glass ink bottles. They have side seams, uneven thickness, especially at the bases, and rough, burst-off mouths. The shoulders on the long sides have horizontal grooves used for pen rests. The bottles vary; some have labels, some contain remnants of blue-black ink, and many have their original corks. The glass has bubbles and imperfections. The remnants of printed labels are on white paper with a swirly border and black text. The bottles contained Caldwell’s blend of blue black ‘Flo-Eesi’ ink.Printed on label; “CALDWELL FLO-EESI BLUE BLACK INK” “ - - - - “ Printed script signature “F.R. Caldwell”flagstaff hill, warrnambool, maritime village, maritime museum, shipwreck coast, great ocean road, ink, nib pen, writing ink, writing, copying, banks, lawyers, commerce, student, permanent ink, flo-eesi, blue black ink, stationery, record keeping, handwriting, writing equipment, writing accessory, office supply, cottage bottle, boat bottle, mouth-blown bottle, two-part mould, sheer-lip bottle, burst-lip, cork seal, f r caldwell, caldwell’s ink company, albert park, south melbourne, inkstands, stencil ink, copy ink, quicksticker, zac cough mixture -
Brighton Historical Society
Accessory - Parasol, circa 1900
This parasol belonged to Clara Johnstone Miller (nee Bell, 1866-1910). Clara was the only daughter of Mr James Bell, a councillor of the Shire of Leigh (today a part of Golden Plains Shire) and owner of Woolbrook Homestead in Teesdale, near Geelong. In 1888, Clara married prominent businessman, racehorse owner, racing identity and pastoralist Septimus Miller (1854-1925). Septimus was the sixth of seven children born to Henry 'Money' Miller and Eliza Miller (nee Mattinson). 'Money' Miller was a well known financier and politician and reputedly one of Australia's wealthiest people in his time. In 1889, Clara and Septimus moved into the house 'Cantala' in Dandenong Road, Caulfield. They had one child, Gwendoline Stewart Miller, who died in 1902 at the age of thirteen of diabetes - a largely untreatable condition at the time (insulin would not be discovered until 1921). Clara died in 1910, aged only 44. Septimus subsequently married Helen (nee Henderson), with whom he had a son, Ronald (1915-1990). The Millers were buried in the Brighton General Cemetery in a large Gothic-style vault. Upon Clara's death, Septimus sent much of her clothing and Gwendoline's to her mother Mary Bell. Some of these items were passed down to two of Clara's nieces, Miss Mary Bell and Mrs Lois Lillies, who donated them to BHS around 1973.A black silk, wood and ivory handled parasol from circa 1900. The black silk of the parasol body has been treated with a decorative hemstitch towards the lower edge. The handle and frame are made of wood, metal and either ivory or an early plastic designed to mimic ivory. The ivory section is carved with a design reminiscent of a palm tree trunk and finished with a ball. The handle also features a leather looped strap that the hand would pass through to aid holding the parasol.The handle bears an engraved inscription that appears to be 'VML' in a highly florid script. The frame bears the name 'Hartnells'.clara miller, woolbrook, septimus miller, henry 'money' miller, gwendoline miller, cantala, parasols, caulfield, brighton general cemetery -
Glenelg Shire Council Cultural Collection
Postcard - Postcard - Ocean Pier Portland Harbour, Victoria, n.d
Front: 'Deepwater Pier' & Baths, Portland Vic' - black script, bottom left Back: Handwritten message -
Glenelg Shire Council Cultural Collection
Postcard, n.d
Black and white photo postcard. Large model 'rooster', hollow; man wearing it, visible outside rooster from waist up and knees down. Fake short legs attached to man, to make it look like he is a jockey. He is holding a jockey's whip.Front: 'THE "ROOSTER" AT THE DIGGERS SPORTS CARNIVAL, PORTLAND, TOYE PHOTO' -white script, bottom edge of postcard -
Flagstaff Hill Maritime Museum and Village
Book - Historical maritime, Terang Express, Loch Ard Gorge, 1954
HISTORY OF THE LOCH ARD The LOCH ARD belonged to the famous Loch Line which sailed many ships from England to Australia. Built in Glasgow by Barclay, Curdle and Co. in 1873, the LOCH ARD was a three-masted square rigged iron sailing ship. The ship measured 262ft 7" (79.87m) in length, 38ft (11.58m) in width, 23ft (7m) in depth and had a gross tonnage of 1693 tons. The LOCH ARD's main mast measured a massive 150ft (45.7m) in height. LOCH ARD made three trips to Australia and one trip to Calcutta before its final voyage. LOCH ARD left England on March 2, 1878, under the command of Captain Gibbs, a newly married, 29 year old. She was bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo reflected the affluence of Melbourne at the time. On board were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionary, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that intended for display in the Melbourne International Exhibition in 1880. The voyage to Port Phillip was long but uneventful. At 3am on June 1, 1878, Captain Gibbs was expecting to see land and the passengers were becoming excited as they prepared to view their new homeland in the early morning. But LOCH ARD was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4am the fog lifted. A man aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head on into the wind, the ship lost momentum, the sails fell limp and LOCH ARD's bow swung back. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time LOCH ARD was among the breakers and the tall cliffs of Mutton Bird Island rose behind the ship. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves broke over the ship and the top deck was loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of LOCH ARD and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as LOCH ARD Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael had raced onto deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a state of exhaustion, he told the men of the tragedy. Tom returned to the gorge while the two men rode back to the station to get help. By the time they reached LOCH ARD Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland, this time by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the LOCH ARD disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. Ten days after the LOCH ARD tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of LOCH ARD still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some was washed up into what is now known as LOCH ARD Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton porcelain peacock - one of only nine in the world. The peacock was destined for the Melbourne International Exhibition in 1880. It had been well packed, which gave it adequate protection during the violent storm. Today, the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register. Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. Book, Loch Ard Gorge: The Story of a Shipwreck by Alice Goldstraw. First published 1948, Third printing November 1954. Inscription inside front cover in blue pen, signed by the author. Soft covered book containing the story of the wreck of the Loch Ard, written in poetry. Each page has a decorative border. One page has photographs, black and white, of people and the Loch Ard Gorge cavesInside front cover, script in blue ink "To Mrs Slade, with kind regards, from Alice Goldstraw"flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, the story of a shipwreck, book, alice goldstraw, terang express press, loch ard gorge whipwreck, ship loch ard -
Ruyton Girls' School
Magazine, Ruyton Girls' School, The Ruytonian, 1932
In July 1909, a modest 12-page booklet was put together by members of the fledgling Old Ruytonians Association (ORA) and distributed to the Ruyton Girls' School community. It was one of their first projects, and their aim was to nurture continuing interest in the School among former and current students. They named it "The Ruytonian." At first, The Ruytonian was produced twice yearly, and always bore a plain cover with a simple name banner. Initially, it was the work of volunteer editors from the ORA, but in 1913 they handed the publication over to the first student editors, Esther Gibson and Lucy Tickell. Since that time, the style and content of The Ruytonian has continuously evolved. The biggest shifts occurred in 1942 when it transitioned to a yearly publication, and in 1969 when it moved to a larger A4 format with a cover image specifically selected for that year.The record has strong historic significance as it pertains to the fourth oldest girls' school in Victoria, Australia. Ruyton was founded in 1878 in the Bulleen Road, Kew, home of newly widowed Mrs Charlotte Anderson (now High Street South). Due to the age of the record dating back to 1932, we can infer it is one of the few remaining complete, intact and original examples of The Ruytonian from this period. Therefore, it can be considered an outstanding representation of its type, and is a reference example for research in early Victorian school history. The record's significance is further enhanced by its exceptionally well-documented provenance, having remained the property of Ruyton Girls' School since its production.Colour publication printed on papyrus coloured paper. 37 pages.Front Cover: Do (?) e (?) [Unintelligible script] / THE / RUYTON / IAN / RECTE ET FIDELITER. / DECEMBER, 1932 /ruyton girls' school, the ruytonian, kew, old ruytonians association, yearbook, school, publication, girls school, junior school, senior school, journal, students, teacher -
Seaworks Maritime Museum
Plate, Royal Selangor Pewter
Ornamental pewter plate inscribed with English writing. Rim features a circle of several coats of arms of different localities including Malacca, Pahang, Selangor, featuring Malay language written in Arabic script (Jawi)"MISC/ In Commemoration of/ Bunga Terasek Maiden Voyage/ At Melbourne" "Sabah Maju Jaya/ Bersekutu Bertambah Mutu برسكوتو برتمبرموتو/ (perlis) فرليس / (Negeri Kedah) نكري قدح / Bersatu Dan Setia/ (Perak) نكري قيراق / Selangor/ (Negeri Sembilan) نكري سمبيلن / Bersatu Teguh / (Kepada Allah Berserah) كلنتن الله كمد برسر ه / Negeri Pahang ي ا ل ط ي ف / (Berserah Kepada Tuhan Kerajaan Kelantan) برسر ه كلنتن كمد توهن كراجان / (Terengganu) ترڠكن ا ن و / Bersatu, Berusaha, Berbakti/ Sabah Maju Jaya" On Reverse "Royal Selangor Pewter" "PMA 0317" -
Wycheproof & District Historical Society Inc.
KARYRIE ROLL OF HONOUR, SUPREME SACRIFICE WW1, Circa 1920
One of the few remaining items from the hamlet of Karyrie near Wycheproof, Victoria, Australia. The memorial plaque links family tragedy to world conflict. It represents the impact such events had on small communities.Varnished timber, rectangular shape with script : ERECTED TO THE MEMORY/OF OUR MEN / WHO GAVE/ THEIR LIVES IN THEIR DUTY/ TO GOD AND EMPIRE / IN THE GREAT WAR / 1914 -1919. Eight names engraved in black text on metal.Rev. A. E. Goller; Denney A. ; Hunter M.C. ; Kelly E. ; Kerr A. ; Kerr J. ; Lee, G.R.; Williams E. ww1; karyrie; supreme sacrifice. -
Uniting Church Archives - Synod of Victoria
Photograph, C. 1940s
N. J. Jenkin lived in Elizabeth St. Malvern. He was Lay Secretary & Treasurer for Methodist Overseas Missions from 1920 - 1942.Matte sepia toned studio portrait of Nicholas J. Jenkin tipped on to buff card with handwritten script at the bottom front. The cardboard has a deckle edge at the bottom. The picture appears to be an enlargement as the focus is not sharp."N. J. Jenkin Lay Secretary & Treasurer OVERSEAS MISSIONS 1920 - 1942"nicholas j jenkin, methodist overseas missions, methodism -
Kew Historical Society Inc
Functional object - Gravure Printing Plate for Mr & Mrs HW Tompkins
Henry (Harry) William Tompkins was a renowned Melbourne architect, former City of Kew councillor and sometime Mayor of the municipality. He was president of the Melbourne Institute of Architects in 1914-15. In partnership with his brother, Frank Beauchamp Tompkins, he designed the Myer Stores in Bourke and Lonsdale Streets in 1933. Locally he was the architect of the Kew War Memorial (opened 1925). At the time that the gravure plate was made, the couple lived in 'Fenwick', a house on the corner of Stawell Street and Fenwick Street, Kew, which has since been demolished.Copper (on steel?) gravure printing plate made for Mr & Mrs Harold Tompkins, 'Fenwick', Fenwick Street, Kew. Engraved in reverse script. It is assumed that the acronym PPC may stand for 'Please Present Card'. "Mr & Mrs H.W. Tompkins, Fenwick, Fenwick Street, Studley Park / PPC 1st Friday"harry tompkins, gravure printing plates, business cards -
Glenelg Shire Council Cultural Collection
Document - Charity Ball Ticket - Portland Benevolent Asylum and Hospital, n.d
Benevolent asylums were places that housed anyone who could not support themselves; these were usually the aged, infirm, disabled and destitute. Benevolent Asylums also served as immigrants' homes, blind asylums, orphanages, lying-in hospitals and lunatic asylums. Benevolent asylums were often associated with hospitals in rural towns; they have evolved into aged care homes and hospitals in larger towns. Portland Benevolent Asylum and Hospital was founded in 1849.Pale blue card ticket, rounded corners, gold edge, black print and script Charity ball in aid of the Bazaar fund on behalf of the Portland Benevolent Asylum and hospital. Double ticket 7s. 6dBack: '75' - black penportland benevolent asylum and hospital, social care, welfare -
Glenelg Shire Council Cultural Collection
Certificate - Certificate of entry to United Grand Lodge - K.S. Anderson, 29/06/1921
Certificate of entry to United Grand Lodge, Mason's entry for K.S. Anderson. Cream parchment, black script, in English and Latin. Blue Masons' seal; Australian coat of arms, Doric, Ionian and Corinthian columns.freemasons, masonic lodge, k s anderson -
Bendigo Historical Society Inc.
Document - COHN BROTHERS COLLECTION: TRANSFER OF SCRIPT
[a] Manilla envelope handwritten labelled 'Transfers and Script [cancelled] attached there to . The Secretary, Cohn Bros Victoria Brewery Bendigo. [b] Share Transfers and Shares dating from 1887-1915 enclosed within envelope.bendigo, industry, cohn bros brewery -
Robin Boyd Foundation
Letter, Hector Crawford, Hector Crawford to Robin Boyd, 12.02.1964
A letter from Hector Crawford to Robin Boyd regarding purchase of The Flying Dogtor scripts by country stations. Attached is a letter (dated 11 Feb 1964) from R. A. Marshall, Executive Officer of Australian Television Facilities, regarding the negotiations.Typewritten, 2 pages -
Tennis Australia
Dishware, 1878
Painted ceramic plate with design in blue depicting a pair of figures playing tennis against unseen opponents. Japanese script on face and on base of plate. Also text on base: 1878...Y.I.T.C.' Materials: Ceramic, Inktennis -
Tatura Irrigation & Wartime Camps Museum
Book - Book - Childrens, Vater Und Sohn (Father and Son), 1940's
Book brought from Jaffa, Palestine in 1941 by the Drescher family, internees at Camp 3, Tatura.Soft red coloured card covered book with black and white comic like illustrations. Cover shows man sitting on a swing with a young boy holding a Winnie the pooh toy. Title in German Gothic script.Peter Dreschercamp 3, children's books, peter drescher, german internees in camp 3 -
Glenelg Shire Council Cultural Collection
Letter - Invitation - Queen Elizabeth II Birthday at Government House, c. 1952
Invitation to Cr and Mrs A J Thomas to an evening reception at Government House to honour the birthday of Queen Elizabeth II on Thursday 5th June 1952. Cream card, gold crown, black script, hand written -
Tatura Irrigation & Wartime Camps Museum
Currency - Bank note, German Currency, 1930 (Approx.)
Possession of Internee at Camp 3 Tatura. Laminated copy of bank note c1930 German mark value 100000. Light mauve coloured wash, picture of head and shoulders of a gentleman (encircled). Details printed in Gothic (German) script. Original note in safe.R.B.D 100000 MARK|(No.)T.01630879banking, camp 3, tatura, commerce, john ran, german currency -
Bendigo Historical Society Inc.
Document - HAMILTON COLLECTION: HANDWRITTEN VERSE, Early 1900s
Document. Foolscap sheet of paper with one side of handwritten rhyming verse. Thirty six lines of neat handwriting in ink. No title. No Date. Scottish Theme. Possibly written by Alex J Hamilton as a performance script.performing arts, elocution, handwritten verse -
Warrnambool and District Historical Society Inc.
Domestic object - Game, Cribbage board, Prior to 1913
This item is linked to the 'HMAS Encounter', possibly made on the ship c. 1913. In 1916 this ship visited a then unnamed island off the Western Australian coast, where the crew discovered two bronze cannons protruding from the sand. These cannons now in the WA Maritime Museum, Fremantle, have been linked to the "Mahogany Ship" legend by historian K.G. MacIntyre. Cribbage is a very popular card game, particularly with naval personnel. This cribbage score board belonged to Alexander Charles Forsyth who used it aboard H.M.A.S. Encounter in 1913. He was a stoker, service number 3086, from New South Wales. H.M.A.S Encounter, the fourth warship of that name, was built at Devonport Dockyard, Tasmania, for the Royal Australian Navy in 1905. She was a second class protected cruiser and in 1909 was lent for three years to the British Admiralty. In 1913 (the year marked on this cribbage board) she was in New South Wales and Queensland waters and in World War One she served in the Pacific region, taking part in the capture of German New Guinea. She was finally scuttled in 1932.Social significance: an example of leisure activities in early C20th. Historical significance: link to "Mahogany Ship" legend through H.M.A.S. Encounter. This is an interesting item with social significance as cribbage was a popular game, particularly in the 20th century, and it illustrates the pastimes of a generation past. It was given to Warrnambool and District Historical Society by a Wangoom couple and so may have local significance if A.C. Forsyth was related to this couple. H.M.A.S. Encounter was important in Australia’s naval history. Rectangular brass plate with rows of holes, grouped in tens. Plate mounted with 5 brass studs to a rectangular wooden base. 134 holes in brass, grouped in tens. Three holes in each end of wooden base. Board used for scoring made out of brass for game of cribbage Burnished gold on playing surface Reddish-brown on base 144 main indentations, 10 minor indentations Machine engraved "A.C. Forsyth" (in script)/ "1913"/ "H.M.A.S. ENCOUNTER" across middle of the plate, between the rows of holes. brass, ships, leisure, royal australian navy, cribbage board, games, mahogany ship, a s forsythe, encounter, alexander charles forsyth, warrnambool -
Camp Eureka Working Collective
scarf
The scarf was worn by Eileen Capocchi, a member of the Eureka Youth League Choir who sang at the Youth Carnival for Peace and Friendship and donated the item. The planned event had been targeted by Prime Minister Menzies as a Communist Party activity. The Commonwealth Government pressured local Sydney Councils to deny the organisers a venue. These attempts failed. The event combined sporting, athletic and musical events at a football stadium. In later years it was the subject of two documentary films. The scarf is of historic and social significance because of its association with the Peace Carnival for Peace and Friendship of 1952 and the Eureka Youth League. The scarves were worn by all participants and by Eureka Youth League members in subsequent years. The scarf records some of the musical and sporting events organised by the Eureka Youth League in most major Australian cities.Brown and yellow square rayon machine edged scarf made for the 1952 Youth Carnival for Peace and Friendship in Sydney. Central portion shows a peace dove, pink heath, flannel flower and wattle. Perimeter shows a saxophonist, ballet dancer, high jumper, hurdler, cyclist and volleyball net. "Youth Carnival for Peace and Friendship" white script on 3cm brown banner repeated 4 times around perimeter.eileen capocchi, eureka youth league choir, youth carnival for peace and friendship, eureka youth league, 1952 -
International House, The University of Melbourne
Photograph (Item), Three males students - two playing chess and one reading a newspaper - in the common room at International House, 1959
"JCR" in blue ink, "Common Room 1959 at HH" written in script in pencil, stamped "Archives International House" -
Tennis Australia
Racquet, Circa 1880
A Pretty tennis racquet with solid convex throat, and leather collars around cupper shaft and butt. Model name is impressed in cursive script across throat, on obverse. Materials: Wood, Gut, Glue, Lacquer, Metal, Leathertennis -
Tatura Irrigation & Wartime Camps Museum
Book
Possession of former internee at camp 3. Brought with him from Jaffa, Palestine in 1941.Hard card covered story book with colour illustrations throughout. Has grey cloth spine. Cover features illustrations of 3 children holding hands/forming a circle. Title etc. in handwriting/German Gothic script.Peter Drescher, Tatura, 1942peter drescher, jaffa, palestine, internee books, german story books -
Glenelg Shire Council Cultural Collection
Souvenir - PLASTIC TUMBLER, Portland Victoria Tumbler, n.d
Plastic tumbler, with sealed section at bottom, containing clear fluid, and plastic underwater scene. 'Portland Victoria' in black script, side of top section of tumbler. With its cardboard box. Decorated with various blues and 'bubble' pattern. -
Glenelg Shire Council Cultural Collection
Document - DANCE CARD, c. 1921
Dance card/programme. White card, fluted edges, 'Programme' on front, blue script. Inside, list of dances in blue print. Names of partners in pencil. Back: 'Stewards N. HENRY H. VIVIAN' blue printBack: Stamp 'B. W. Vivian Box 103 PORTLAND 33O5 -
Bendigo Historical Society Inc.
Document - CLARKE CERTIFICATE OF APPRECIATION, 1984
A certificate of appreciation presented by the Public Works Department to William Albert Clarke for 36 years service, on buff coloured paper with black script and a coat of arms, under glass in a wooden frame, signed by the Minister & Director General.civic mementoes, presentations, public works department -
Bendigo Historical Society Inc.
Sign - BRASS PLATES: CURVED MDE FUCHS
Brass Plates: curved. Each plate has three screw holes. When held together the sign 'Mde Fuchs' is created from lettering painted in script. Each plate is approx 30cm long by 5cm wide.cottage, miners -
Warrnambool Art Gallery
African thumb piano, mid to late 1800s
This item was donated to the museum by Joseph Dallimore. Dallimore was brought up at Lake Gillear, and as a young man he left Australia to travel overseas both to help his parent's business in the wool trade and for pleasure. He wrote many letters to his parents keeping them updated with the prices he received from selling wool and on his travels. Later in life Dallimore enlisted in the Australian Army and went on to have a distinguished career during the Boer War. He would have collected this piano whilst on service in South Africa.South African thumb piano from the Zulu culture. It is a wooden panel board with 15 iron finger keys in it. They are stuck onto the wood at one end with some sort of glue and also held in place by an iron rod passing over the top of them. At the bottom of the board is a metal panel and attached to that is a small circular cymbal. There is a string tying the metal panel to the wooden board.There are no original markings on this although the original museum label is still stuck to the bottom which says, ' Native piano ( Mashona)' on it in script.south africa, joseph dallimore. war, boer war, zulu, finger piano, music