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Flagstaff Hill Maritime Museum and Village
Equipment - Net Floats, Bef. 06-01-1984
These net floats are handmade from lightweight cork wood and are used for suspending fishing nets in the water. Newspaper articles dated from 1848 to 1916 mention net fishing in Warrnambool's Hopkins and Merri rivers and Lady Bay. The Melbourne Argus dated January 11, 1848, published a quote from Captain Theobald of the vessels ELLEN and ELIZABETH, made on his first visit to Warrnambool "“…Fish are very plentiful here; on Christmas day a net was thrown into the Hopkins, and, after two or three draws, a boat load of beautiful fish was obtained…” The Argus, Melbourne, Sat. 29 May 1858, forwarded from The Examiner newspaper; "Extraordinary Fish. We have been presented with a very singular fish, caught by Mr. Meek in the Hopkins [Hopkins River, Warrnambool] last week. It is about three inches long, with a slate-coloured body, and a beautiful wing on each side. It was caught with other fish at night, in a net, and its eyes shone as bright as diamonds." A method for making cork net floats mentioned, in a 15th-century book, advised cutting the corks and then burning a hole through the centre of each one with a hot iron. The prepared corks were then joined together with a horsehair line. The cork's size and the line's thickness depended on the net's weight.The net floats are an example of fishing equipment used for many centuries and still in use today. In Warrnambool net fishing was a common practice from 1848 and became a livelihood for many fishermen.Cork net floats; lengths of 15 various sized cylindrical blocks of cork threaded onto string. warrnambool, shipwreck coast, flagstaff hill, flagstaff hill maritime museum, flagstaff hill maritime village, net floats, cork net floats, fishing, fisheries, fishing equipment, handmade, net fishing, fisheries act, andrew ferrier, william flett, warrnambool breakwater, merri river, hopkins river, captain theobald, ellen, elizabeth -
Flagstaff Hill Maritime Museum and Village
Equipment - Net Floats, 20th century
These net floats are handmade from lightweight cork wood and are used for suspending fishing nets in the water. Newspaper articles dated from 1848 to 1916 mention net fishing in Warrnambool's Hopkins and Merri rivers and Lady Bay. The Melbourne Argus dated January 11, 1848, published a quote from Captain Theobald of the vessels ELLEN and ELIZABETH, made on his first visit to Warrnambool "“…Fish are very plentiful here; on Christmas day a net was thrown into the Hopkins, and, after two or three draws, a boat load of beautiful fish was obtained…” The Argus, Melbourne, Sat. 29 May 1858, forwarded from The Examiner newspaper; "Extraordinary Fish. We have been presented with a very singular fish, caught by Mr. Meek in the Hopkins [Hopkins River, Warrnambool] last week. It is about three inches long, with a slate-coloured body, and a beautiful wing on each side. It was caught with other fish at night, in a net, and its eyes shone as bright as diamonds." A method for making cork net floats mentioned, in a 15th-century book, advised cutting the corks and then burning a hole through the centre of each one with a hot iron. The prepared corks were then joined together with a horsehair line. The cork's size and the line's thickness depended on the net's weight.The net floats are an example of fishing equipment used for many centuries and still in use today. In Warrnambool net fishing was a common practice from 1848 and became a livelihood for many fishermen.Cork net floats; a set of two cylindrical blocks of varying sizes threaded onto strings.warrnambool, shipwreck coast, flagstaff hill, flagstaff hill maritime museum, flagstaff hill maritime village, net floats, cork net floats, fishing, fisheries, fishing equipment, handmade, net fishing, fisheries act, andrew ferrier, william flett, warrnambool breakwater, merri river, hopkins river, captain theobald, ellen, elizabeth -
Merri-bek City Council
Work on paper - Charcoal and pages from Aboriginal Words and Place Names, Jenna Lee, Without us, 2022
Jenna Lee dissects and reconstructs colonial 'Indigenous dictionaries' and embeds the works with new cultural meaning. Long obsessed with the duality of the destructive and healing properties that fire can yield, this element has been applied to the paper in the forms of burning and mark-making. In Without Us, Lee uses charcoal to conceal the text on the page, viewing this process as a ritualistic act of reclaiming and honouring Indigenous heritage while challenging the oppressive legacies of colonialism. Lee explains in Art Guide (2022), ‘These books in particular [used to create the proposed works] are Aboriginal language dictionaries—but there’s no such thing as “Aboriginal language”. There are hundreds of languages. The dictionary just presents words, with no reference to where they came from. It was specifically published by collating compendiums from the 1920s, 30s and 40s, with the purpose to give [non-Indigenous] people pleasant sounding Aboriginal words to name children, houses and boats. And yet the first things that were taken from us was our language, children, land and water. And the reason our words were so widely written down was because [white Australians] were trying to eradicate us. They thought we were going extinct. The deeper you get into it, the darker it gets. But the purpose of my work is to take those horrible things and cast them as something beautiful.’Framed artwork -
Bendigo Military Museum
Postcard - POSTCARDS - FRAMED WW1, Postcards WW1- Frame c2008/09
Refer Cat No. 1280 for Jack Grintons service, Cat No 1320P for Bert Grinton DCM.Postcards - collection top to bottom - left to right. Nine (9) cards. Top left: cardboard, insert coloured silk embroidery on cotton, flowers, flags, sailing boat, greeting. Middle: cardboard, inset coloured silk with embroidery on cotton, butterfly, greeting. Right: cardboard, inset coloured silk embroidery on cotton, flowers, greeting. Second row left: cardboard, inset coloured silk embroidery on cotton, basket of flowers, greeting. Middle: cardboard, handwritten greeting and note in black ink. Bottom row left: black and white photograph postcard, cardboard. Two soldiers in uniform. Middle: cardboard, handwritten greeting and note in black ink. Bottom row - top right: black and white photograph postcard, three women. - Lower right - colour printed postcard, with flowers, flags, painting and "Good Luck and Coo-ee" greeting on scroll. Frame - Perspex front, screwed to brown painted MDF backing board. Dark brown mount, cardboard.Greeting silk embroidery. "From your loving son" From your Soldier Boy", "With my love". "Loving Greetings". Handwritten greeting in black ink. 2nd row middle Dated “21.10.17", frame/ “Dear Arthur/ love from your loving brother/ Jack W. Grinton" Bottom Row: Middle - "From your loving/ brother/ Albert V. Grinton". framed accessories, camera on the somme, ww1, 38th bn, grinton -
Archive of Vietnamese Boat People
5 grave stones of the VBP mass grave in Cherang Ruku
This 5 grave stones of the VBP mass grave in Cherang Ruku were built by the UN-HCR. As told by the local old man, Mr Lim at 80 years old, in 2010, who was in charge of burying these victims from the first day, he confirmed that there were 139 bodies buried by himself. It can accepted that because the name list of the boat was lost during sinking, the name list angraved on the stones was collected by UN HCR member by interviewing the victims who could identified victims. Furthermore the dead bodies, as told by Mr Lim, were washed ashore not in one day. The local residents could not contact to report to the UN HCR many after the accident, what they could do was that they had to quicly bury the decomposed bodies. As told by vitims of the MT065, about 2 - 3 days after the accident, they were called to the beach to identify the bodies. No way they could identify the body because it was swollen and decomposed. Face and parts of the body was eaten by fish.5 grave stones of the VBP mass grave in Cherang Ruku -
Kew Historical Society Inc
Certificate, Town of Kew, Roll of Honor of the Town of Kew : George Norman Pockett, 1918
George Norman Pockett, who was awarded the certificate was the son of George Pockett , who with his brother designed a number of public parks in Melbourne. George Pockett Snr. was the first curator of the Alexandra Gardens in Kew. (see Comment below)Rolls of Honor were awarded to returned soldiers at the end of the First World War by many towns and cities. This framed certificate awarded to George Norman Pockett by the Town of Kew is one of two held in the Collection. The item is well-provenanced, and through the formal use of emblems and images in the design allows us to make judgements about social and cultural values in the period.Framed Illuminated Certificate: A commemorative certificate documenting the war service of George Norman Pockett of 18 Cobden Street, Kew. George Pockett enrolled at the age of 23 on 5 October 1915, as an engineer in the Australian Army. He embarked on HMAT Wiltshire A18 on 18 November 1915. His rank was that of Warrant Officer Armament Artificer in the 4 FAB [Field Artillery Brigade]. The website of the Australian War Memorial records that he was mentioned in dispatches. The formal certificate records that ‘George Norman Pockett served Australia and the Empire in the Great War and in grateful recognition of his voluntary response to his Country’s Call his name is inscribed on the Roll of Honor of the Town of Kew’. The then Mayor and Town Clerk signed the certificate. [Kew did not become a ‘City’ until 1921]. The certificate highlights emblems and symbols of Australia and Great Britain, and includes the coats of arms of the allies in the war. The certificate is customised with two black and white photographs of Kew: the rotunda in the Alexandra Gardens at left, and boating on the Yarra River at right.George Norman Pockett served Australia and the Empire in the Great War and in grateful recognition of his voluntary response to his Country's Call his name is recorded on the Roll of Honor Town of Kew on behalf of the Mayor, Councillors and Burgesses. 1.8.18. E.P. Wynne [Mayor] H. Harrison [Town Clerk]george norman pockett, first world war - memorabilia - certificates, town of kew (vic), kew war memorial - roll of honor, wwi -
Falls Creek Historical Society
Journal - Ski-Horizon Vol. 3 No 3, November 1951
Ski-Horizon is the official journal of the Federation of Victorian Ski Clubs which began publication in 1949. The original member clubs were Albury Ski Club, Alpine Club of Victoria, Australian Postal Institute Ski Club, Australian Women's Ski Club (Victoria), Beechworth Ski Club, Bogong Ski Club, Bull Lodge Ski Club, Chamois Ski Club, C.S.I.R. Ski Club, Edelweiss Ski Club, Howqua Ski Club, Lazy Eight Ski Club, Melbourne University Ski Club, Melbourne Walking Club, Monsanto Ski Club, Moose Ski Club, Myrtleford Ski Club, Rongbuk Ski Club, Tallangatta and District Ski Club, Tanjil Ski Club, Telemark Ski Club, University Ski Club, Victorian Rover Scouts (B.S.A.), Wangaratta Ski Club, Youth Hostel Association, Yurredla Ski Club. Two pioneers of Falls Creek, Tom Mitchell, M.L.A., and Martin Romuld were Vice-Presidents of the Federation. The journal features stories and events chronicling developments in Victoria and internationally.Ski-Horizon is the official journal of the Federation of Victorian Ski Clubs which began publication in 1949. The were 26 original member clubs which included Albury Ski Club, Bogong Ski Club, Myrtleford Ski Club, Tallangatta and District Ski Club and Wangaratta Ski Club. Two pioneers of Falls Creek, Tom Mitchell, M.L.A., and Martin Romuld were Vice-Presidents of the Federation.This Journal is significant because it documents the early development of skiing in Victoria.The journal features stories and events chronicling developments in Victoria and internationally. Items related to the Falls Creek Area in this publication include:- Page 2: The road to Falls Creek from Howmans Gap likely to be closed while activities on the Kiewa Hydro Electric Scheme are restricted due to VIctoria's lack of finance for public works. Page 5 - A note from Fred Griffith (President, Albury Ski Club) gave plans for the club's annual Ski Ball on Friday, 30th November. It will be held in the Toonallook Woolshed. Fred says you are welcome to bring your sleeping bag and stay the night (what's left of it) at Toonallook where the recovery from hangover can be spent very pleasantly on the property or swimming and boating on the Hume Weir nearby. - N.E.D.S.A. officials are getting preparations in hand for the visit next year of a N.E.D.S.A. team to New Zealand. John Robertson, of Myrtleford Ski Club, is the Trip Secretary and Toni St. Elmo is acting at present as Manager.ski history victoria, federation of victorian ski clubs, ernest forras -
Power House Rowing Club
Journal article - ROWING CLUB, ROWING CLUB, 1958
ROWING CLUB We are all delighted at having invited Brighton Grammar to use our Club's gear. So take heed, all-comers. you may yet see the Sommers As Head-of-the-River next year ! In common with many, we're short of a penny Our small nexus perplexes, we fear. But the Vic. State election has eased our dejections. And with more funds or new pair may appear. To increase the votes, all those our boats Canvassed Toorak - 'twas really a dash. A fifty pound cheque, the reward r our trek, Is now name our books "Petty Cash." At Vienna's Olde Inn, the Annual Club Din. On May two was a splendid assembly. Such fine fare and good fellows, their voices like bellows, You'd have thought it a final at Wembley. -
Orbost & District Historical Society
black and white photograph, early 20th century - 1910?
From L-R : Nathan Spielvogel, Hector Young, Percy Watt and George Holden. . Taken on the front porch at Illfracombe in 1908 after the four men had enjoyed a weekend fishing There appears to be a photo hanging on the wall in the background which looks like it could be of a young Marion Watt and the family's dog, a golden retriever In "The Gum Sucker at Home: Bound for Croajingolong 1908" by Nathan Spielvogel, published in Mary Gilbert's Personalities and Stories of the Early Orbost District, 3rd edition, p. 107-116, Spielvogel talks of his trip to Orbost, and fishing with Watt, Bruce and Young aboard Percy Watt's boat, the Maris Stella. Spielvogel's story says Young was the secretary at James & Birds auctioneers and "was one of the builders of the first foot bridge over the Backwater". It says George Holden was a Bank Manager at the Bank of Victoria. (info. from Campbell Watt) This photograph shows Mr Nathan Spielvogel on the left. He was a school teacher at the Orbost State School following Mr Rowe. Nathan Frederick Spielvogel (1874-1956), teacher, writer and historian, was born on 10 May 1874 at Ballarat, Victoria, son of Newman Frederick Spielvogel, pawnbroker, and his wife Hannah, née Cohen. As well as his stories he published a number of books about the history of Ballarat. Spielvogel taught at Orbost for at least a year Nathan Frederick Spielvogel (1874–1956) was a teacher, writer and historian. As a country schoolteacher, he traveled widely in the eastern Australian outback and also made a journey to London. Spielvogel gained distinction as one of the only Australian Jewish writers of his time. Many of his early books were best-sellers. He has an association with the history of Orbost having spent a year as a teacher at Orbost. The Watt family were early Marlo settlers.A black / white photograph / postcard of four men sitting around a small table playing cards. Two of the men have pillows behind their heads. Three are smoking pipes.on back - "On R - N. Spielvogel"spielvogel-nathan-orbost -
Orbost & District Historical Society
black and white photograph, 16.7.1956
This photograph shows Nelson Burn reading a telegram from the queen to his grandmother, Mrs Paul Hocking, on her 100th birthday. Her husband, James Hocking, was the first watchmaker in Orbost. He had been a lay preacher at Wangaratta and Yan Yean before coming to Orbost. He was an 1891 Rechabite and an Orbost Shire Councillor. Eliza Ann Hocking (nee Eddy) was born on 16.7.1856 at Blackwater Hall in England, She had arrived in Australia on the sailing boat "Poocia" on 8-7-1880. The voyage following the Cape route took about 7 weeks. For a time, with her husband, she lived at Chewton, on the gold fields, before coming to Orbost. She was a foundation member of the Methodist Ladies’ Guild in 1912. She lived in Salisbury Street, Orbost. She died on 9.4.1957. Colin Nelson Burn, born 7.7.1921, was her grandson, son of Robert Alfred Burn and Edith Jane Hocking. He began Sta-Brite' Painting and Decorating Services in Salisbury Street, Orbost. He served in the forces during World War II. He was a Life member of the Snowy Rovers Football Club. He joined the Orbost Fire Brigade on 1-5-1946. He died 1.2.2015. His son, Peter continues the painting business in Orbost. (info. from John Phillips)This is a pictorial record of an Orbost resident reaching 100 years. A 100 year birthday is a significant milestone. The Hocking / Burn family have been associated with the Orbost district since 1889.A large black / white photograph of an elderly lady standing beside a younger man who is holding a letter and reading to her.hocking-mrs burn-nelson telegram-queen-100th-birthday -
Flagstaff Hill Maritime Museum and Village
Equipment - Rope Block, Mid to Late 19th
A sailing block is single or multiple pulleys with one or more sheaves that are enclosed in an assembly between cheeks or chocks. In use, a block is fixed to the end of a line, to a spar, or a surface. A rope line is reeved through the sheaves, and maybe through one or more matching blocks at the far end, to make up what's known as a tackle. The purchase of a tackle refers to its mechanical advantage. In general, the more sheaves in the blocks that make up a tackle, the higher its mechanical advantage. The matter is slightly complicated by the fact that every tackle has a working end where the final run of rope leaves the last sheave. More mechanical advantage can be obtained if this end is attached to the moving load rather than the fixed end of the tackle. Various types of blocks are used in sailing. Some blocks are used to increase mechanical advantage and others are used simply to change the direction of a line. A ratchet block turns freely when a line is pulled in one direction but does not turn the other direction, although the line may slip past the sheave. This kind of block makes a loaded line easier to hold by hand, and is sometimes used on smaller boats for lines like main and jib sheets that are frequently adjusted. A single, large, sail-powered warship in the mid-19th century required more than 1,400 blocks of various kinds and sizes. An item from an old sailing vessel from the late 19th to early 20th century, unfortunately, the item cannot be identified as to what vessel it belonged to. It does however give an insight into a piece of sailing equipment that's design is still in use today on pleasure sailing craft. Wooden closed spelter double rope block with two pully's between sheaves, block has metal frame around outside of the sheaves and 4 metal pins, 2 each side of the frame at top and 2 at bottom, joining the sheaves together. The shaft between the sheaves is also wooden. Remnants of orange and black paint on outside of block. Shafts are chipped, wood has borer holes. (NOTE: Block was rediscovered after relocating objects to new storage area)Noneflagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, sailing ship, pulley, block, sheave, ship equipment, rope block, sail rigging -
Flagstaff Hill Maritime Museum and Village
Craft - Ship Model, Peter Payne, Early 1930s to 1960s
Half-hull ship models were an important step in the process of building a vessel. Shipwrights or designers would construct a half-hull scale model of a ship before the vessel was built. They used it to ensure that the dimensions would work together and that the ship look balanced. They would often mount the half hull onto a board in their workshop. The half-hull ship models were also used to show prospective buyers how the design would work and look. Given the plywood construction of the model, it is believed to have been made around the 1930s as plywood construction had started in earnest in Queensland around this time and soon became the centre of the industry because of Queensland's attractive rain forest woods used which also included red cedar, silver ash, black bean, Queensland maple and silky oak. It is also believed the model was a design for a clinker-built barge to be built by Peter Payne who operated a boat building works on the Mordialloc Creek, Victoria going out of business in 1973. Records show Peter Paynes' first craft launched in 1962 and the last in 1973 from Mordialloc Creek works. However, he was one of the most prolific builders from the 1930s and produced many more vessels than the records currently show. There is at this point no further record of the subject model or whether a full version was ever built and for whom is not known at this time.A model that demonstrates the boat-building process is believed to have been made by Peter Payne or someone who worked in his yard. P Payne was a very well-known boating personality, vessel captain and boat builder throughout most of the 20th century. Model barge half hull on wooden of plywood laminated construction. Marked "AUXILIARY BARGE 80'x16'x6' 315 TONS 4" - 1 FOOT" "P and H PAYNE?" "22/E/26" flagstaff hill, warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, ship model half hull, ship half model, shipbuilding, shipwright, ship design, peter payne, boat builder victoria, clinker design, barge -
Federation University Historical Collection
Plant specimen, Flowers from the Holy Land, possibly c1949
This item was located in a book called The English Lakes which was owned by E.C. Holmes [Edward Carter Holmes was the name of my mother's, Elizabeth Mary [Elizabeth] Holmes family's pioneer settler. He arrived in Geelong on the 28th of June, 1849, with his wife Sarah and their first child Frances Harriet as assisted immigrants (people whose passage was subsidised by an assisted immigration scheme) to New South Wales at Port Henry, Geelong in the sailing boat ‘Larpent’. Sarah and Edward arrived two years before his mother, Harriet, arrived as unassisted passenger in Geelong on ‘The Eagle’. 200 of the " Larpent" passengers had been selected in England by Rev John Dunmore Lang whose wish was to encourage the migration of hard-working, God-fearing Protestants to the colony. He sponsored two ships, the "Travancore" and the" Larpent', to bring the settlers to Australia in 1849 with Dr Alexander Thomson, a Sydney Presbyterian minister, ready to receive and settle them. Thomson owned section 10 of the parish of Barrabool known as the Kardinia section — a square mile of undulating land west of Colac, still known today as Larpent. Among the 'Larpent' immigrants were many well-known Ballarat and District pioneers including Armitage, Mercer, Oddie and Scott. For more details about this migration scheme refer to: A thoroughly Protestant emigration: the emigration activities of the Rev. Dr. J.D. Lang / Ian Wynd.2006.] [source: Jane Dyer 2024] Printed card with a pressed botanical specimen glued onto it. Printed onto the card 'Flowers from the Holy Land. Placed on the Holy Sepulchrechatham family archive, chatham, holmes, ec holmes. holy land, relic, botanical, botany, holy sepulchre, botanical specimen -
Flagstaff Hill Maritime Museum and Village
Equipment - Block, Late 19th to early 20th century
A sailing block is single or multiple pulleys with one or more sheaves that are enclosed in an assembly between cheeks or chocks. In use, a block is fixed to the end of a line, to a spar, or a surface. A rope line is reeved through the sheaves, and maybe through one or more matching blocks at the far end, to make up what's known as a tackle. The purchase of a tackle refers to its mechanical advantage. In general, the more sheaves in the blocks that make up a tackle, the higher its mechanical advantage. The matter is slightly complicated by the fact that every tackle has a working end where the final run of rope leaves the last sheave. More mechanical advantage can be obtained if this end is attached to the moving load rather than the fixed end of the tackle. Various types of blocks are used in sailing. Some blocks are used to increase mechanical advantage and others are used simply to change the direction of a line. A ratchet block turns freely when a line is pulled in one direction but does not turn in the other direction, although the line may slip past the sheave. This kind of block makes a loaded line easier to hold by hand and is sometimes used on smaller boats for lines like main and jib sheets that are frequently adjusted. A single, large, sail-powered warship in the mid-19th century required more than 1,400 blocks of various kinds and sizes.A historic item from an old sailing vessel from the late 19th to early 20th century, unfortunately. It represents part of the rigging required to set the sails on a wind-powered vessel.A two sheave wood sailing block with metal hook and becket. One sheave missing. flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, block, sailing block, two-sheave block, 2 sheave wood block, marine technology, sailing equipment, rigging, rigging block -
Flagstaff Hill Maritime Museum and Village
Functional object - Porthole Frame, Russell & Co, 1888
This portion of the porthole frame was part of the fittings of the Antares. The Italian barque “Antares” was an iron three-masted sailing ship built in 1888 by Russell & Co of Port Glasgow. The ship was originally named the “Sutlej” but was renamed the “Antares” in 1907 when sold to the Semider Bros of Genoa, Italy, where it was registered. The vessel left Marseilles on the 18th of December 1913 with its master Captain Gazedo destined for Mullaly & Byrne of Melbourne with a cargo of roofing tiles but failed to arrive. The wreckage was found near the Bay of Islands, twenty-two miles east of Warrnambool, after a body had washed ashore. Some of the timbers washed up were charred by fire, and a small boat's stern board with the name "Sutlej" led to the identification of the wreck as Antares, which had been reported missing. According to later reports, the Antares wrecking was overshadowed by war news at the time. A young local boy had remarked that the Germans had arrived off the coast as he had seen them firing off shells and rockets, but his story was passed off as a joke. These rockets were most likely the distress signals from the stricken ship. The Italian barque, clipper, Antares was sometime later reported as overdue. The wreck of the ship was later found at the base of a cliff at the Bay of Islands near Warrnambool in November 1914; there were no survivors.The Antares is significant as it was a sail trader carrying international inbound cargo during the early part of the 20th century. It is part of the Great Ocean Road Historic Shipwreck Trail and as such is registered as a protected wreck in the Victorian Heritage Database VHS S34 .Porthole frame section, brass, large part corroded away. Hing is still visible on the end. The underside is shaped to allow the fitting of the glass. Recovered from the wreck of the Antares. Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, antares, tall ship, sailing ship, peterborough, phillip le couteur, peter mathieson, constable stainsbury, sutlej, antares rock., bay of islands, porthole, ship fitting, 1914 shipwreck, porthole frame -
Flagstaff Hill Maritime Museum and Village
Ceramic - Roof Tile, Circa 1914
This portion of terracotta roof tile was salvaged from the wreck of the Antares by Flagstaff Hill diver, Peter Ronald. It has letters, numbers and symbols impressed into the clay by the manufacturer. The Italian barque Antares was an iron three-masted sailing clipper built in 1888 by Russell & Co of Port Glasgow originally named the “Sutlej” and renamed in 1907 the “Antares” when sold to the Semider Bros of Genoa Italy. The vessel left Marseilles on the 18th of December 1913 with its master captain Gazedo destined for Mullaly & Byrne of Melbourne with a cargo of roof tiles but failed to arrive. The wreckage was found near the Bay of Islands twenty-two miles east of Warrnambool after a body had washed ashore. Some of the timbers washed up were charred by fire, and a small boat's stern board with the name "Sutlej" led to the identification of the wreck as Antares which had been reported missing. According to later reports, the Antares wrecking was overshadowed by war news at the time. A young local boy had remarked that the Germans had arrived off the coast as he had seen them firing off shells and rockets, but his story was passed off as a joke. These rockets were most likely the distress signals from the stricken ship. The Italian barque/clipper Antares was sometime later reported as overdue. The wreck of the ship was later found at the base of a cliff at the Bay of Islands near Warrnambool in November 1914, there were no survivors.This tile is significant in its association with the wreck of Antares and is registered as a Shipwreck Artefact A/2. This tile is significant for its association with the sailing ship Antares, one of the last of the 'tall ships' to be lost along the southwest coast of Victoria, and the only wreck that took the lives of all people on board. The significance is recognised by its listing on the Victorian Heritage Register VHS S34. The Antares is significant as a sail trader carrying international inbound cargo. It is part of the Great Ocean Road Historic Shipwreck Trail.Roof tile; terracotta clay tile shaped for fitting together with other tiles. Inscriptions are impressed into the clay. It was recovered from the wreck of the Antares. Impressed text:”- E R I E S DE LA MEDITERRANEE” “ … T S – MI-LES BOU- R …..” Impressed symbol: (Sideways crown or tree) (could be TULLERIES DE LA MEDITERRANEE)flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, roofing tile, building materials, antares, peterborough, 1914 shipwreck, sutlej, antares rock., bay of islands, terracotta tile, clipper, roof tile, building material -
Wodonga & District Historical Society Inc
Photograph - Buntz - Federal Coach Factory, Wodonga
George Smith came to Wodonga c.1885 and carried on a business as a blacksmith and wheelwright in Hume Street. He subsequently erected the very substantial Federal Coach Factory in High Street. In 1901 the Coach Factory was sold to Mr C. E. Jones, but within three or four years George Smith again found himself in the establishment he had built. In 1907/8 Marcus Buntz partnered by a G. F. Simpson took possession of the Federal Coach Factory. In 1912 Buntz bought out the interest of Simpson and engaged a first-class wheelwright to do the woodwork. In 1912 a buggy could be had from £40 and a sulky £18. The business over many years developed from a shoeing forge and wheelwright business to a more modern day garage, keeping abreast with mechanisation. Marcus Buntz was joined in the business by his three sons, George, an A grade mechanic, Edward an auto-electrician and Henry, a blacksmith’s striker. The sons eventually took over the garage and handled both coach building and general service work. The firm also maintained the Wodonga Water Pump for many years, ensuring the town’s water supply. In 1948 the old established motor garage was purchased by Mr Jack Mylon. In July 1960 the building became Wodonga Market, housing a butcher, snack bar, milk bar, fruit and veg, Bill Dunstan’s Boat Centre and an Auction Mart. These images have local significance as they document a long-standing business in central Wodonga.2 black and white photos depicting Buntz Federal Coach Factory at different stages during its period of operation,Photo 1: Above building: FEDERAL COACH FACTORY/ M.H. BUNTZ/ GEORGE SMITH/ COACH BUILDER & BLACKSMITH On side of coach: DRAPERY/ FANCY GOODS Photo 2: BUNTZ BROS" MOTOR GARAGE / ATLANTIC MOTOR OIL On the window: BUNTZ'S COACH FACTORY/ Rubber Tyres Fitted Below image on mounting: BUNTZ BROS. MOTOR GARAGE L to R. Pop Buntz, George Buntz, Les Easto, D. Zeinert, H. Buntz, Ted Buntz. Doug Zeinert buntz federal coaches, wodonga businesses, wodonga pioneers -
Melbourne Legacy
Photograph, Legacy Appeal 1990, 1990
Photos of Badge Day in Melbourne's City Square (corner of Swanston and Collins Streets) where the Victoria Naval Band is playing on 7 September 1990. There are statues promoting a sporting event in the background (Commonwealth games perhaps). A man in an old Naval uniform is watching and is later on a boat in the Yarra River with President Tony Norris. Part of a Legacy Appeal Week promotion in 1990. Also photos showing a tank in the City Square and a view along Swantson st with Legacy flags on the flag poles. Can see how much the City Square and Swanston St has changed since 1990. Similar to 00491 but there are slight variations so different years. Two of these photos were featured in the 1990 President's Report that was published with the Annual Report, it identifies the man in old Naval costume as Commander Mike Lehan. The article also says: 'On Badge Day, the public of Melbourne responded magnificently to Legacy's call for financial assistance. Our Annual Badge Appeal raised $470,000. given the depressed economy and hard times within the community, Legacy was humbled by the generosity of the community and donations from Bequests totalled $193,966 and a further $111,000 was received from Philanthropic Trusts and Foundations. This year were were overwhelmed by the support of serving members of the Army, Navy and Air Force who assisted Legacy as never before for which we are most grateful.'A record of Legacy being promoted for Legacy Week and being helped by the Armed Services in their fundraising .Colour photo x 16 of Badge Day in the city square with a Navy band.Hand-written on paper label in blue pen 'Badge Appeal - City Activities. 1990 7 Sept. S. Howard'legacy appeal, fundraising, legacy week -
Eltham District Historical Society Inc
Document - Folder, Masefield, Bert and Ethel
Bert Masefield's parents came from Lancashire to Surrey Hills, his education ending because of the depression when he went to work at an orchard at Hastings. When his father list his job as a cabinet maker, he bought an orchard at Cottlesbridge and Bert joined them, ploughing with a horse. He met and married Ethel Smith who had grown u at Panton Hill; her great grandparents Sarah and Samuel Smith came from Lancashire where they had a cotton mill and iron foundry, settling at Smith Gully between Panton Hill and St Andrews. Their son Edwin married Louisa Purcell whose parents owned the Caledonie Hotel at Smiths Gully; they had 12 children and settled on a property in Cherrytree Road. Son Edwin left Panton Hill school aged 11 in 1885 and worked with his father and uncle fencing the family property. Edwin had nine children, Ethel being the seventh. Aged 14, she gained a scholarship to Stotts Business College. Berth and Ethel, when they married, bough a property in Cherrytree Road. In 1941 Bert, a ham radio enthusiast, joined the RAAF as a radio mechanic, serving in Townsville and New Guinea until 1945. Over time, they subdivided their property. Bert worked for ten years as property officer for Eltham Shire Council; his work included coverting Three Chain Road (or Gumtree Road) into a huge firebreak. Now retired, Bert spends time speaking with radio operators around the world and the couple are involved with sports including the Montmorency Bowling Club; they were foundation members of the Hurstbridge Bowling Club. Marjorie North (nee Cooper) was 14 when her family moved from the city to Montmorency when the railway station was first built in 1923. Marjorie described her memories of Montmorency at that time. She and sister Connie were keen tennis players, playing at Greensborough. By 1927, they had arranged, though shire engineer Ben Johnson, to rent land from the Council for 10 pounds a year; Mr Paragreen levelled the land. The club held a dance every three weeks in a school room with piano for music. She won the singles, doubles and mixed doubles championships in 1929 at the first championship. Contents Newspaper article: "Round the world on radio waves," Diamond Valley News, 30 September 1986, outlines Bert and Ethel Masefield's lives. Newspaper article: "Stalwart recalls the early days," Diamond Valley News, 30 September 1986, outlines Bert and Ethel Masefield's lives.Newspaper clippings, A4 photocopies, etcbert masefield, elthel masefield, ethel smith, cherrytree road panton hill, samuel smith, sarah smith, smith gully victoria, caledonie hotel smiths gully, stotts business college, montmorency bowling club, hurstbridge bowling club, eltham shire council, edwin smith, louisa purcell, parragreen of para road, ben johnson, montmorency tennis club -
Bendigo Military Museum
Postcard - POSTCARD, ALDERSHOT, UK, Valentine's Series, c 1914 - 1918
R..H. Baron took leave from Herdcott Camp between 4.10.19918 and 8.10.1918 to visit Aldershot. See Catalogue No. 7743 for leave pass details. Relatives lived in the Aldershot area. Part of the 'Robert H. Baron', No.3596 and Cooper Collections. See Catalogue No. 19819 for details of Baron's service.1. Coloured street scene with buildings, groups of people and horse drawn transport. 2. Coloured street scene with buildings, groups of people and horse drawn transport. 3. Coloured street scene with buildings, groups of people. 4. Coloured scene features a canal with boat, tow path, bridge and house. 5. Coloured, Band marching down a street. Spectators lining the road. Church in background. 6. Coloured Group of soldiers in uniform marching along the road. Spectators, church in background. 7. Coloured statue of a man on a horse. Statue located on a hill 8. Coloured scene of gardens surrounded by buildings and a church. Groups of women. 9. Coloured - Large building with a clock tower. 10. Coloured column of uniformed soldiers on horseback. Buildings lining road. Horse drawn transport sharing road. 11. Coloured street scene with red brick building and pedestrians. 12. Coloured Monument with inscription. Buildings in background. 13. Black and wgite street scene. Street lined with buildings. Horse drawn transport. Pedestrians.1. High Street, Aldershot. 2. Wellington Street, Aldershot. 3. Union Street, Aldershot. Handwritten in black ink on back: (Notice how narrow the streets are). 4. Wharf Bridge, Farnborough Road, Aldershot. Handwritten in black ink on back: "I was all over these places with Uncle. I had a good time in Aldershot, Bob. 5. Wellington Avenue (Church Parade), Aldershot. Handwritten in black ink: 'One of the Aldershot bands', R.H. Baron.' 6. Queens Avenue and St. George's Church, Aldershot. Handwritten in black ink on back: 'Soldiers going to church". 7. Wellington Monumental, Aldershot. Handwritten on back in black ink: 'I was right up around this place!' 8. Municipal Gardens, Aldershot. Handwritten on back in black ink: 'This place is very pretty, Bob'. 9. Cambridge Hospital, Aldershot. Handwritten on back in black ink "This is a fine place!". 10. Hospital Hill, Aldershot. 11. Smith Dorrien Home, Aldershot. Handwritten on back in black ink. 'I was all over Aldershot with Uncle. I have saw all these places. Bob.' 12. R.A.M.C. Memorial, Aldershot. 13. Victoria Rd, Aldershot.robert h. baron, cooper collection, aldershot uk, postcards -
Kiewa Valley Historical Society
Iron Hand Kerosene, mid to late 1900s
The 1950's saw a revolution in small appliances for use in the average household. This hand held self heating(kerosene) iron was introduced as a time saving and more convenient iron for pressing clothes and other cloth fabrics. It replaced irons needing a separate fire source to heat the ironing plate. These irons continued to be in service, even when electricity was available in cities and larger rural towns (domestic electric steam irons were invented in 1938). This item was used before and during the electricity supplies available from the Kiewa Hydro Electricity Scheme. These irons remained in use within regional rural areas that had limited or unreliable electrical reticulation.In the 1950s and later the Kiewa Valley was still a relatively isolated region which was home to rural properties and small settlements. The availability of electricity and or the financial means to afford new types of electric hand irons ensured that older and sometimes less efficient ironing remained for an extended period covering the 1960s to 1970s. Kerosene products, such as this kerosene iron was a cheaper method for farm based domestic and other rural activities requiring a heat source. The use of kerosene as a heat/light source was able to be supplied in bulk and able to be used when floods severed vital roads into this region. The supply of electricity was in summer time subject to interruption from bush fire damaged wooden poles carrying the electrical cables. Self sufficiency by rural populations was the backbone of survival and the ability to store energy sources "on the farm" was a prerequisite of isolated regions, such as the Kiewa Valley, circa 1950s.This Coleman kerosene iron has a solid steel chrome plated(press) base with a painted (blue) wooden handle. The handle is stud fastened onto an oblong shaped rolled steel handle frame and screwed (two screws) onto the base plate. Both the heating plate and the top securing plate are shaped similar to a river boat. The main housing enclosing the heating element is enamel coated(blue in colour) steel and has a half hole for lighting the kerosene at the rear end. Behind the handle and protruding upwards is a stainless steel fully enclosed container (bowl shaped) for the main supply of kerosene to the burner or generator(enclosed within the main body of the iron. The bowl has an air valve and inlet for pressurised air intake (hand pump) On the bottom rear of the fuel bowl there is a screw regulated fuel pump. The fuel heated base plate provides the heat for this advertised "self heating iron(instant lighting). See KVHS 0347B- Instruction sheet; KVHS 0347C- Wrench; and KVHS 0347D Fuel can.Stamped on the base plate of the handle, front region "COLEMAN LAMP & STOVE CO." below this "WICHITA KAN" below this"TORONTO CAN". In the middle of the handle base and in larger print "COLEMAN Instant-Lite" At the rear location in large print "MODEL 4" in smaller print below "MADE IN U.S.A." below this "PAT#1718473"household appliances, alternative non electrical ironing appliances, domestic appliances, kerosene appliances -
Ballarat Tramway Museum
Postcard - Folder set, Valentine & Sons Publishing Co, "Beautiful Views in Color of Ballarat Vic", Early 1950's
Shows views of Ballarat city, tourist attractions, Lake Wendouree in the 1950's, with some distance views of the trams in the streets. Demonstrates production of souvenirs of the era - folded postcards.Set of 9 coloured views of Ballarat printed with all photos on one side of a folded strip of paper glued within an colour printed light card folder. Published by The Valentine Publishing Co. Pty Ltd of Melbourne and Sydney., titled "Beautiful Views in Color of Ballarat Vic". Front cover has a image of the Arch of Victory on the left hand side with space for title, address area and stamp. Rear of Cover has printer name and a slit for the envelope to be closed over and sealed. 1. The Avenue of Honor and the Arch of Victory 2. The Eureka Stockade Memorial 3. The Old Curiosity shop 4. Town Hall Sturt St. (with trams in distance views, note Myers verandah still there) 5. Sturt St showing Mt. Warrenheip in the distance 6. Picturesque scene in the Gardens 7. The Boat shed and basin, Lake Wendouree 8. Sturt St. (from Greville St and large Robur Tea advertisement on building) 9. The Conservatory in the Gardens. From the motor vehicles in the photograph would say early 1950's. trams, tramways, ballarat, postcards, sturt st, bridge st, gardens, grenville st, lake wendouree -
National Wool Museum
Film - Hirst Family Films, Cedric L Hirst, 1950s
Copy of Godfrey Hirst family videos/photograph on CD. Including 1951 floods at Mill. All video content filmed at Godfrey Hirst Woollen Mill, Swanston Street, South Geelong. Godfrey Hirst's children. Family home in Newtown and holiday home in Eastern View.Compact disc (CD) containing colour video footage. Film has no audio content. Visual content outlined below: 00:00 – 00:05 – External view of brick building – Godfrey Hirst & Co. Pty. Ltd. 00:05 – 00:10 – Exterior garden setting, three men in suits with fabrics and object 00:10 – 00:28 – Exterior garden setting showing eight women, most likely on a break from working at the Godfrey Hirst factory. The footage shows them all getting up and walking back towards the building at the end. 00:28 – 00:38 – Exterior garden setting, showing seven men in white shirts and ties seated and standing around a table, turning pages on a folder on the table. 00:38 – 00:52 – Interior factory setting, showing four men in coats handling green and red wool. 00:52 – 1:08 – Three men in suits in an exterior garden setting looking at paperwork. 1:08 – 1:23 – Four men in coats in a garden handling coloured wool samples. 1:23 – 1:42 – Four men in suits in a garden setting handling woven fabric. Two of the men are holding pipes. 1:42 – 1:57 – Interior factory setting showing men operating machinery. 1:57 – 2:05 – Exterior factory setting showing a man driving machinery carting wool bales. 2:05 – 3:14 - Flood scenes, showing the exterior of the Godfrey Hirst building with a man rowing a boat down the street, and a horse and cart in flood waters. There are scenes of flooded streets, exterior of flooded buildings and people standing in flood waters. 3:14 – 3:40 - Interior building views of flood waters in factory with people, machinery, equipment and textiles in flood waters. 3:40 – 4:03 - Exterior views showing a tractor, boat, horse and people in flood waters. 4:03 – 7:02 Exterior setting showing crowds of people watching a fashion parade. The fashion parade is of women in various clothing, including suits jackets, skirts, coats and hats. 7.02 - END"Hirst family films 1936-1964 Incl. Godfrey Hirst and co P/L Woollen mills"geelong, godfrey hirst & co. pty. ltd., family films, factory, flooding, 1950s, wool processing, fashion, textiles, horse and cart, wool bales, transport, machinery, fashion parade, working life -
Thompson's Foundry Band Inc. (Castlemaine)
Audio - Video, Western Video Productions, Boosey & Hawkes Australian National Band Championships 1987, 1987
VHS Cassette containing video recording of the Thompson's Foundry Band performance at the 1987 Australian National Band ChampionshipsVHS Cassette containing video recording of the Thompson's Foundry Band performance at the 1987 Australian National Band Championshipsnon-fictionVHS Cassette containing video recording of the Thompson's Foundry Band performance at the 1987 Australian National Band Championshipsthompson's foundry band, launceston, 1987, boosey & hawkes, australian national band championships, western video productions, alex lithgow -
Victorian Aboriginal Corporation for Languages
Periodical, Australian Institute of Aboriginal and Torres Strait Islander Studies, Australian Aboriginal studies : journal of the Australian Institute of Aboriginal and Torres Strait Islander Studies, 2007
1. Musical and linguistic perspectives on Aboriginal song Allan Marett and Linda Barwick Song brings language and music together. Great singers are at once musicians and wordsmiths, who toss rhythm, melody and word against one another in complex cross-play. In this paper we outline some initial findings that are emerging from our interdisciplinary study of the musical traditions of the Cobourg region of western Arnhem Land, a coastal area situated in the far north of the Australian continent 350 kilometres northeast of Darwin. We focus on a set of songs called Jurtbirrk, sung in Iwaidja, a highly endangered language, whose core speaker base is now located in the community of Minjilang on Croker Island. We bring to bear analytical methodologies from both musicology and linguistics to illuminate this hitherto undocumented genre of love songs. 2. Iwaidja Jurtbirrk songs: Bringing language and music together Linda Barwick (University of Sydney), Bruce Birch and Nicholas Evans (University of Melbourne) Song brings language and music together. Great singers are at once musicians and wordsmiths, who toss rhythm, melody and word against one another in complex cross-play. In this paper we outline some initial findings that are emerging from our interdisciplinary study of the musical traditions of the Cobourg region of western Arnhem Land, a coastal area situated in the far north of the Australian continent 350 kilometres northeast of Darwin. We focus on a set of songs called Jurtbirrk, sung in Iwaidja, a highly endangered language, whose core speaker base is now located in the community of Minjilang on Croker Island. We bring to bear analytical methodologies from both musicology and linguistics to illuminate this hitherto undocumented genre of love songs. 3. Morrdjdjanjno ngan-marnbom story nakka, ?songs that turn me into a story teller?: The morrdjdjanjno of western Arnhem Land Murray Garde (University of Melbourne) Morrdjdjanjno is the name of a song genre from the Arnhem Land plateau in the Top End of the Northern Territory and this paper is a first description of this previously undocumented song tradition. Morrdjdjanjno are songs owned neither by individuals or clans, but are handed down as ?open domain? songs with some singers having knowledge of certain songs unknown to others. Many morrdjdjanjno were once performed as part of animal increase rituals and each song is associated with a particular animal species, especially macropods. Sung only by men, they can be accompanied by clap sticks alone or both clap sticks and didjeridu. First investigations reveal that the song texts are not in everyday speech but include, among other things, totemic referential terms for animals which are exclusive to morrdjdjanjno. Translations from song language into ordinary register speech can often be ?worked up? when the song texts are discussed in their cultural and performance context. The transmission of these songs is severely endangered at present as there are only two known singers remaining both of whom are elderly. 4. Sung and spoken: An analysis of two different versions of a Kun-barlang love song Isabel O?Keeffe (nee Bickerdike) (University of Melbourne) In examining a sung version and a spoken version of a Kun-barlang love song text recorded by Alice Moyle in 1962, I outline the context and overall structure of the song, then provide a detailed comparative analysis of the two versions. I draw some preliminary conclusions about the nature of Kun-barlang song language, particularly in relation to the rhythmic setting of words in song texts and the use of vocables as structural markers. 5. Simplifying musical practice in order to enhance local identity: Rhythmic modes in the Walakandha wangga (Wadeye, Northern Territory) Allan Marett (University of Sydney) Around 1982, senior performers of the Walakandha wangga, a repertory of song and dance from the northern Australian community of Wadeye (Port Keats), made a conscious decision to simplify their complex musical and dance practice in order to strengthen the articulation of a group identity in ceremonial performance. Recordings from the period 1972?82 attest to a rich diversity of rhythmic modes, each of which was associated with a different style of dance. By the mid-1980s, however, this complexity had been significantly reduced. I trace the origin of the original complexity, explore the reasons why this was subsequently reduced, and trace the resultant changes in musical practice. 6. ?Too long, that wangga?: Analysing wangga texts over time Lysbeth Ford (University of Sydney) For the past forty or so years, Daly region song-men have joined with musicologists and linguists to document their wangga songs. This work has revealed a corpus of more than one hundred wangga songs composed in five language varieties Within this corpus are a few wangga texts recorded with their prose versions. I compare sung and spoken texts in an attempt to show not only what makes wangga texts consistently different from prose texts, but also how the most recent wangga texts differ from those composed some forty years ago. 7. Flesh with country: Juxtaposition and minimal contrast in the construction and melodic treatment of jadmi song texts Sally Treloyn (University of Sydney) For some time researchers of Centralian-style songs have found that compositional and performance practices that guide the construction and musical treatment of song texts have a broader social function. Most recently, Barwick has identified an ?aesthetics of parataxis or juxtaposition? in the design of Warumungu song texts and musical organisation (as well as visual arts and dances), that mirrors social values (such as the skin system) and forms 'inductive space' in which relationships between distinct classes of being, places, and groups of persons are established. Here I set out how juxtaposition and minimal contrast in the construction and melodic treatment of jadmi-type junba texts from the north and north-central Kimberley region similarly create 'inductive space' within which living performers, ancestral beings, and the country to which they are attached, are drawn into dynamic, contiguous relationships. 8. The poetics of central Australian Aboriginal song Myfany Turpin (University of Sydney) An often cited feature of traditional songs from Central Australia (CA songs) is the obfuscation of meaning. This arises partly from the difficulties of translation and partly from the difficulties in identifying words in song. The latter is the subject of this paper, where I argue it is a by-product of adhering to the requirements of a highly structured art form. Drawing upon a set of songs from the Arandic language group, I describe the CA song as having three independent obligatory components (text, rhythm and melody) and specify how text is set to rhythm within a rhythmic and a phonological constraint. I show how syllable counting, for the purposes of text setting, reflects a feature of the Arandic sound system. The resultant rhythmic text is then set to melody while adhering to a pattern of text alliteration. 9. Budutthun ratja wiyinymirri: Formal flexibility in the Yol?u manikay tradition and the challenge of recording a complete repertoire Aaron Corn (University of Sydney) with Neparr? a Gumbula (University of Sydney) Among the Yol?u (people) of north-eastern Arnhem Land, manikay (song) series serve as records of sacred relationships between humans, country and ancestors. Their formal structures constitute the overarching order of all ceremonial actions, and their lyrics comprise sacred esoteric lexicons held nowhere else in the Yol?u languages. A consummate knowledge of manikay and its interpenetrability with ancestors, country, and parallel canons of sacred y�ku (names), bu?gul (dances) and miny'tji (designs) is an essential prerequisite to traditional leadership in Yol?u society. Drawing on our recordings of the Baripuy manikay series from 2004 and 2005, we explore the aesthetics and functions of formal flexibility in the manikay tradition. We examine the individuation of lyrical realisations among singers, and the role of rhythmic modes in articulating between luku (root) and bu?gul'mirri (ceremonial) components of repertoire. Our findings will contribute significantly to intercultural understandings of manikay theory and aesthetics, and the centrality of manikay to Yol?u intellectual traditions. 10. Australian Aboriginal song language: So many questions, so little to work with Michael Walsh Review of the questions related to the analysis of Aboriginal song language; requirements for morpheme glossing, component package, interpretations, prose and song text comparison, separation of Indigenous and ethnographic explanations, candour about collection methods, limitations and interpretative origins.maps, colour photographs, tablesyolgnu, wadeye, music and culture -
Flagstaff Hill Maritime Museum and Village
Plaque - Nameplate, James & Alexander Brown, 1849 – 1931
This is one of two cast brass nameplates of James & Alexander Brown in our collection. The Newcastle, NSW, firm was renowned for its coal mining and exporting business established in colonial Australia in 1843. The firm had an office in Melbourne and sold coal for commercial use and from the Wharf for the domestic market. The coal was then distributed along the southwest coast of Victoria in steamships or steam packets and into the regional areas of Victoria by cart and wagon. In 1890 there was a strike of coal workers but the Geelong Advertiser, September 1, 1890, announced that “a firm of coal merchants only recently received some large cargoes from Newcastle”. This supply of coal could have originated at the colliery of James & Alexander Brown. About James & Alexander Brown: - James (1816-1894), John (1823-1846) and Alexander Brown (1827-1877) migrated with their parents from Scotland to Sydney, Australia, in 1842. The next year James leased land and was assisted by his brothers Alexander and John in mining coal in the area near Maitland. The market was very competitive, with the government controlling prices. James was instrumental in a legal battle that resulted in the introduction of open competition for coal mining. James and Alexander had become business partners by 1852 and moved south of Newcastle where they established and worked a profitable mining enterprise. Their assets by 1857 included a ships’ chandlery, a fleet of steamships and an overseas trading business. They were the first firm to import rum, sugar and coffee into Newcastle. By 1892 they were exporting coal to New Zealand, China, North America, and various colonial ports. They had elaborate workshops to service their own steam engines and steamships. They were the first to use a steam collier vessel in Australian waters and they set up the second tug boat in Newcastle, the beginning of being owners of many more tug boats and performing a towing business. By 1868 James & Alexander Brown was the largest coal producer in the colony. James focused on managing the colliery and Alexander on overseas trade. It was estimated that the firm had produced over eight per cent of coal in New South Wales by 1914. James & Alexander Brown advertised in the Melbourne Herald in the early 1900s and kept an office at Queen Street, Melbourne as well as at the Wharf, stating their telephone numbers for both places. The coal was available for ‘Immediate Delivery’ for household and industrial purposes. The advertising claimed that their Pelaw Main coal was the famous household coal that met the highest test in Australia and burned bright and clean. Domestic customers could purchase the coal at the wharf or pay for delivery. Commercial customers could load their purchases into their steamships or wagons for further distribution into regional Victoria. After James’s death in 1894 his son John managed the firm, which was also known as J & A Brown. John passed away in 1930 and his sons took over. In 1931 the firm amalgamated with Abermain Seaham and the new name was J & A Brown & Abermain Seaham Collieries Ltd. commonly abbreviated to JABAS, which merged with Caledonian Collieries Ltd in 1960 and Coal & Allied Industries Ltd. was formed. The pair of nameplates is significant for its connection with the firm James & Alexander Brown. The firm was established in 1845 and became one of the largest collieries in colonial Australia. It was involved in trading within Australia and overseas. James was involved in the introduction of open competition for coal mining prices. They were the first to use a steam colliery in Australian waters and the first to import goods such as rum, sugar and coffee into New South Wales. The firm had a Melbourne office in the early 1900s, selling and distributing coal throughout Victoria, which likely included the Port of Warrnambool, which opened in 1890. The nameplates are likely to have originated from the Melbourne location.Brass Entrance Name Plate, one of a pair. Eight holes are formed through the plate; one in each corner, and four more holes are within the inscription area. The cast plate has three rows of text with the company’s name and type of business. The plate was owned by James & Alex. Brown. "JAMES & ALEXR. BROWN / COLLIERY PROPRIETORS / & STEAMSHIP OWNERS"flagstaff hill, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, nameplate, james & alexander brown, j & a brown, james & alexr brown, colliery proprietors, steamship owners, ship chandlers, coal mine, coal export, australian import, australian export, newcastle, colliers, coastal trade, steamships -
Flagstaff Hill Maritime Museum and Village
Plaque - Nameplate, James & Alexander Brown, 1849 – 1931
This is one of two cast brass nameplates of James & Alexander Brown in our collection. The Newcastle, NSW, firm was renowned for its coal mining and exporting business established in colonial Australia in 1843. The firm had an office in Melbourne and sold coal for commercial use and from the Wharf for the domestic market. The coal was then distributed along the southwest coast of Victoria in steamships or steam packets and into the regional areas of Victoria by cart and wagon. In 1890 there was a strike of coal workers but the Geelong Advertiser, September 1, 1890, announced that “a firm of coal merchants only recently received some large cargoes from Newcastle”. This supply of coal could have originated at the colliery of James & Alexander Brown. About James & Alexander Brown: - James (1816-1894), John (1823-1846) and Alexander Brown (1827-1877) migrated with their parents from Scotland to Sydney, Australia, in 1842. The next year James leased land and was assisted by his brothers Alexander and John in mining coal in the area near Maitland. The market was very competitive, with the government controlling prices. James was instrumental in a legal battle that resulted in the introduction of open competition for coal mining. James and Alexander had become business partners by 1852 and moved south of Newcastle where they established and worked a profitable mining enterprise. Their assets by 1857 included a ships’ chandlery, a fleet of steamships and an overseas trading business. They were the first firm to import rum, sugar and coffee into Newcastle. By 1892 they were exporting coal to New Zealand, China, North America, and various colonial ports. They had elaborate workshops to service their own steam engines and steamships. They were the first to use a steam collier vessel in Australian waters and they set up the second tug boat in Newcastle, the beginning of being owners of many more tug boats and performing a towing business. By 1868 James & Alexander Brown was the largest coal producer in the colony. James focused on managing the colliery and Alexander on overseas trade. It was estimated that the firm had produced over eight per cent of coal in New South Wales by 1914. James & Alexander Brown advertised in the Melbourne Herald in the early 1900s and kept an office at Queen Street, Melbourne as well as at the Wharf, stating their telephone numbers for both places. The coal was available for ‘Immediate Delivery’ for household and industrial purposes. The advertising claimed that their Pelaw Main coal was the famous household coal that met the highest test in Australia and burned bright and clean. Domestic customers could purchase the coal at the wharf or pay for delivery. Commercial customers could load their purchases into their steamships or wagons for further distribution into regional Victoria. After James’s death in 1894 his son John managed the firm, which was also known as J & A Brown. John passed away in 1930 and his sons took over. In 1931 the firm amalgamated with Abermain Seaham and the new name was J & A Brown & Abermain Seaham Collieries Ltd. commonly abbreviated to JABAS, which merged with Caledonian Collieries Ltd in 1960 and Coal & Allied Industries Ltd. was formed. The pair of nameplates is significant for its connection with the firm James & Alexander Brown. The firm was established in 1845 and became one of the largest collieries in colonial Australia. It was involved in trading within Australia and overseas. James was involved in the introduction of open competition for coal mining prices. They were the first to use a steam colliery in Australian waters and the first to import goods such as rum, sugar and coffee into New South Wales. The firm had a Melbourne office in the early 1900s, selling and distributing coal throughout Victoria, which likely included the Port of Warrnambool, which opened in 1890. The nameplates are likely to have originated from the Melbourne location.Brass Entrance Name Plate, one of a pair. Eight holes are formed through the plate; one in each corner, and four more holes are within the inscription area. The cast plate has three rows of text with the company’s name and type of business. The plate was owned by James & Alex. Brown. "JAMES & ALEXR. BROWN / COLLIERY PROPRIETORS / & STEAMSHIP OWNERS"flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, nameplate, james & alexander brown, j & a brown, james & alexr brown, colliery proprietors, steamship owners, ship chandlers, coal mine, coal export, australian import, australian export, newcastle, colliers, coastal trade, steamships -
Ringwood and District Historical Society
Photographs, Awaiting Cataloguing: Parkwood Secondary College 1986 - 2012 various framed pictures and one wooden box containing slide projector, 1986 - 2012
Parkwood Secondary College 1986 - 2012 various framed pictures and one wooden box containing slide projector (u/s); 3870/1 Framed picture Parkwood Secondary College 2012 Deb Ball; 3870/2 Framed picture Parkwood Secondary College 2003 Presentation Ball; 3870/4 Framed picture Parkwood Secondary College Presentation Ball 2005; 3870/5 Framed picture Parkwood Secondary College Presentation Ball 2004; 3870/6 Framed picture Parkwood Secondary College Year 12 2003; 3870/6 Framed picture Parkwood Secondary College Year 12 2004; 3870/6 Framed picture Parkwood Secondary College Year 12 2006; 3870/6 Framed picture Parkwood Secondary College Year 12 2007; 3870/7 Framed picture Parkwood Secondary College Staff 2003; 3870/8 Framed picture Parkwood Secondary College Staff 2004; 3870/8 Framed picture Parkwood Secondary College House Captains 2001; 3870/8 Framed picture Parkwood Secondary College House Captains 2001; 3870/9 Framed picture Parkwood Secondary College Debutante Ball 4 April 1998; 3870/10 Framed picture Parkwood Secondary College Graduate, Marcus Kruger 1985; 3870/10 Framed picture Parkwood Secondary College Graduate, Shayne Bannard 1999; 3870/10 Framed picture Parkwood Secondary College Graduate, Darren Dunk 1992; 3870/10 Framed picture Parkwood Secondary College Graduate, Paul Lyford 1986 -
Flagstaff Hill Maritime Museum and Village
Domestic object - Spoon
The teaspoon is a European invention. Small spoons were common in Europe since at least the 13th century; the special spoons were introduced almost simultaneously with tea and coffee. (Pettigrew points to its use in the mid-17th century.) Originally the teaspoons were exotic items, precious and small, resembling the demitasse spoons of later times. Also used for coffee, these spoons were usually made of gilt silver, and were available with a variety of handle shapes: plain, twisted, or decorated with knobs, also known as knops, hence the knop-top name for such spoons. Widespread use and the modern size dates back to the Georgian era. The teaspoon is first mentioned in an advertisement in a 1686 edition of the London Gazette. Teaspoons, probably of English origin, are present in the 1700 Dutch painting by Nicholas Verkolje, "A Tea Party". An 1825 cartoon makes fun of a Frenchman unfamiliar with the British etiquette. The guest did not place his spoon into the cup and is thus being offered his thirteenth cup of tea! A special dish for resting the teaspoons, a "spoon boat", was a part of the tea set in the 18th century. At that time, the spoons played an important role in tea drinking etiquette: a spoon laid "across" the teacup indicated that the guest did not need any more tea, otherwise, the hostess was obligated to offer a fresh cup of tea, and it was considered impolite to refuse the offering. Pettigrew reports that sometimes the spoons were numbered to make it easier to match the cups with the guests after a refill. https://en.wikipedia.org/wiki/Teaspoon#:~:text=Teaspoon%20is%20a%20European%20invention,the%20mid%2D17th%20century).A history of the teaspoon.Metal teaspoon, badly corrodedNoneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village -
Flagstaff Hill Maritime Museum and Village
Functional object - Pulley Sheave, Russell & Co, 1888
This ship's pully sheave was part of the Antares rigging. A pulley sheave is a circle on a shaft that is manufactured to hold up movement and change of way of a cable or/and rope, or transfer of power between the shaft and cable or/and rope. A pulley is a unique mechanism that is used to leverage the lifting of heavy loads to required heights. The Italian barque Antares was an iron three-masted sailing clipper built in 1888 by Russell & Co of Port Glasgow originally named the “Sutlej” and renamed in 1907 the “Antares” when sold to the Semider Bros of Genoa Italy. The vessel left Marseilles on the 18th of December 1913 with its master captain Gazedo destined for Mullaly & Byrne of Melbourne with a cargo of roofing tiles but failed to arrive. The wreckage was found near the Bay of Islands twenty-two miles east of Warrnambool after a body had washed ashore. Some of the timbers washed up were charred by fire, and a small boat's stern board with the name "Sutlej" led to the identification of the wreck as Antares which had been reported missing. According to later reports, the Antares wrecking was overshadowed by war news at the time. A young local boy had remarked that the Germans had arrived off the coast as he had seen them firing off shells and rockets, but his story was passed off as a joke. These rockets were most likely the distress signals from the stricken ship. The Italian barque/clipper Antares was sometime later reported as overdue. The wreck of the ship was later found at the base of a cliff at the Bay of Islands near Warrnambool in November 1914, there were no survivors.The Antares is significant as it was a sail trader carrying an international inbound cargo during the early part of the 20th century. It is part of the Great Ocean Road Historic Shipwreck Trail and as such is registered as a protected wreck in the Victorian Heritage Database VHS S34.Pulley sheave; brass, with recesses full of concretion. The metal has some blue-green colouration due to exposure to sea water. Recovered from the wreak of the Antares. Noneflagstaff hill, warrnambool, flagstaff-hill-maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, pulley sheave, antares, tall ship, peterborough, 1914 shipwreck, phillip le couteur, peter mathieson, constable stainsbury, sutlej, bay of islands, pully sheave, pulley, lifting equipment