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Bendigo Historical Society Inc.
Document - GERMAN HERITAGE SOCIETY COLLECTION: TATURA DISTRICT 1939-1947, Sunday 14th November 1993
Compiled reference articles on the Tatura District, 1939-1947. Information from War Museum Archives, Canberra. File 780/1 (2 pages). Tatura and the Shire of Rodney, by W H Bossence. Walls of Wire, Tatura Rushworth Murchison by Joyce Hammond. The Story of the Beilharz Family by Dr. Paul Sauer. Contains a map, with Internment Camps, of the Shire of Rodney, Prisoners of War in Australia During World War 2, Special Requirements for Internees : Accommodation. Chap. 1, Prisoner of War and Internment Camps at Tatura, Vic., Plan of the Camp. Has a pale yellow front cover and a pale blue back cover.document, memo, german heritage society, german heritage society collection - visit to tatura, german heritage society bendigo, german war cemetry, war museum archives canberra, tatura and the shire of rodney, walls of wire tatura rushworth murchison, the story of the beilharz family, ian walder, geoff pedersen, kurt beilharz -
Kew Historical Society Inc
Photograph - Cosy Five Roomed Rough Cast Bungalow, Kew, J E Barnes, c.1920
Subdivision plans are historically important documents used as evidence of the growth of suburbs in Australia. They frequently provide information about when the land was sold on which a built structure was subsequently constructed as well as evidence relating to surveyors and real estate and financial agents. The numerous subdivision plans in the Kew Historical Society's collection represent working documents, ranging from the initial sketches made in planning a subdivision to printed plans on which auctioneers or agents listed the prices for which individual lots were sold. In a number of cases, the reverse of a subdivision plan in the collection includes a photograph of a house that was also for sale by the agent. These photographs provide significant heritage information relating house design and decoration, fencing and household gardens. The photograph is also aesthetically significant as it was taken by J. E. Barnes, a nationally significant photographer. He was the most important photographer to have worked in Kew. He was active as a photographer in the district from c.1906 until his death in 1921. Best known as 'the Embarkation Photographer' (see the Australian War Memorial collection), Josiah Earl Barnes was also the official photographer employed by the Borough (and later Town, then City) of Kew. He clearly also completed commercial jobs for local businesses, as is the case in this photograph of a house for a local real estate and financial agent. A modest weatherboard house with rough-cast rendered walls. The gabled entrance incorporates elements of the Japanese aesthetic. The strong lines of the dark timber gable are reinforced by the colour and shape of the pickets in the fence. In contrast to an earlier period, the chimneys appear truncated. The use of extensive double-hung sash windows in the front rooms reflects a new interest in light in houses. The use of separate sunshades over windows in an earlier period is here replaced by an extension of the roofline over the window. The photographer Josiah Barnes died in 1921; so, the photograph of the house must predate this date. The location of the house, which was advertised for sale, has to date not been identified. Illegible inscription. Photographer's information on mount.josiah earl barnes, j e barnes, photography - kew, interwar housing - victoria, 1920s housing - kew -
University of Melbourne, Burnley Campus Archives
Photograph - Black and white prints, Students and Staff, 1960-1970
Photograph envelope containing collection of miscellaneous photographs, most labelled. (1) "Mr. K. Hasler." (Staff 1962-1965.) (2) "Mr. Hasler." (cut out of a wedding photograph.) (3) Principal's Residence with man on tractor clearing between front of house and Californian Redwood. "And we will have vistas...Beautiful Vistas." (4) "Lucy Pruis." (1966). (5-7) Unidentified students. (8) Group of male students on Oak Lawn. "Part of the Old Brigade." (9, (a) "Quadrangular Basketball Team." (10, 10a) "Student Representatives." Names and graduation dates (1965-1967.) (11) Male student standing on top of a wall.k. hasler, staff, principal's residence, tractor, californian redwood, students, oak lawn, basketball team, student representatives -
Melbourne Tram Museum
Postcard, Nu-color-Vue, L 104 on the Zoo line, 1980's
Full colour gloss finished postcard with a serrated edge of L 104 on the Zoo line, showing West Coburg via William St (route 55) as its destination. Photo has the Zoo brick wall in the background. On the rear of the card has the details of the tram type and the tramcar itself. Photographer (Ron Scholten). Produced by the TMSV in association with Nucolorvue. Has space for stamp and address details. NCV 1389 Used by Kevin Tierney to return a donator form and a note on the Hawthorn flyers distributed by the Connies at the Melbourne Town Hall on the 26 July 2014 Open House Day. 2 copies held.trams, tramways, l class, zoo tram, tram 104 -
Melbourne Tram Museum
Negative, Wal Jack, 24/11/1941 12:00:00 AM
Black and white negative, by Wal Jack, of S 160 (St Georges Road) and W2 455 (West Preston 10) at the intersection of Barkly St and St Georges Road, North Fitzroy. The Trolley Pole is turned on S 160 for the car to return to Lygon St along Holden St. On a wall above the W2 is written "Gone to Berlin" On the corner is a Cash Grocer, advertising McAlpin's Flour, Velvet Soap. In the background is a bus stop sign and housing that has been built since the demolition and sale of the former Cable Tram depot. Photo dated 1-9-1941, in the Wal Jack album.trams, tramways, s class, w2 class, holden st, st georges road, barkly st, route 10, tram 160, tram 455 -
Flagstaff Hill Maritime Museum and Village
Pen Nibs, 1920's
The two cards of nibs are retail display cards of the dip pen nibs that William Mitchell Calligraphy produced, dating back to around the 1920’s, which was the time of the Great Exhibition in the UK. At that time dip pens with steel nibs were the main writing instruments. British Pens Ltd. had recently formed as a company and its subsidiaries included the the company William Mitchell, which is why British Pens Ltd. is named on the cards as well. One card (1) has the Round Hand nib, which is widely used today for calligraphy scripts. The other card (2) has the Script nib that has round upturned points for monocline or unshaded lettering that is also used for calligraphy. The nibs also have a detachable reservoir. The pen nibs are shaped to fit into a slot in the base of a wooden or Bakelite pen holder. The hole at the front of the nib is for collecting ink from a well, which is then stored in a reservoir at the back of the nib. The nibsare stamped with their nib size and Pedigree (what type of nib it is) and maker’s details. William Mitchell Calligraphy still makes these nibs today with a slightly difference finish. (ref: Sales and Marketing Director of William Mitchell Calligraphy in 2016). HISTORY of the Ink Pen Quills and ink were common writing tools until the early 19th century when the pen trade began mass producing steel nibs and pens. The steel nibs each have a hole in the middle that acts like a well for the ink. When the nib is dipped into the ink well the writer needs to ensure that it is dipped to only just past that well. India Ink was one of the most popular inks used with the nib pens, notable for its satin-like smooth flow. This ink is composed of a particularly fine carbon mixed with water; it can also be obtained as a dry stick that is then crushed and mixed with water as required. The Jewellery Quarter of Birmingham had the largest concentration of independent jewellers in Europe. Birmingham became the centre of the world’s pen trade for many years -, during the 1800’s over 100 factories, employing 1000s of skilled workers, manufactured the ‘Birmingham Pen’. ABOUT WILLIAM MITCHELL CALLIGRAPHY LTD.* (*The following text is quoted from the William Mitchell Calligraphy website) British based William Mitchell Calligraphy has been designing and manufacturing exceptional pens for almost 200 years. The William Mitchell heritage in making pen nibs began whilst working with his brother John Mitchell in the early 1820s. William Mitchell established his own business in 1825 to become one of the leading nib manufacturers and famous for lettering pens. Almost 100 years later William Mitchell merged with Hinks, Wells & Co, another pen manufacturer, to form British Pens, employing around 1000 people in the Bearwood Road area of Birmingham. During the early 1960s British Pens acquired the pen business of other pen manufacturers Perry & Co and John Mitchell, once again reuniting the two brothers. Joseph Gillott, who were famous for their artist drawing and mapping nibs, amalgamated with British pens in 1969. William Mitchell and Joseph Gillott established in Birmingham during the early part of the nineteenth century and [their products] are still proudly made here. British Pens were subsequently purchased by its current owner Byron Head, the owner of William Mitchell (Sinkers) in 1982, and was subsequently renamed William Mitchell (calligraphy) Ltd. Established in 1827 Joseph Gillott was one of the pioneers of mass steel pen nib manufacturing. The company was particularly strong in the American market, prompting Elihu Burrit, the American consul, to write “In ten thousand school houses across the American continent between two oceans, a million children are as familiarly acquainted with Joseph Gillott as with Noah Webster” (The compiler of the famous American dictionary). The company consequently received visits from many notable Americans, including president Ulysses S Grant. The early 19th century invention and mass production of pen nibs such these in our collection had a large impact on education and literacy because the nibs could be produced in great numbers and affordable prices.Pen nibs; 2 cards of steel dip pen nibs from the 1920’s. The steel nibs are attached to cards by 2 rows of entwined cotton cord. Reverse sides of cards have some hand written marks. Manufacturer; William Mitchell, Birmingham, England. Card issued by British Pens Ltd. Nibs have shaped ends, a hole in the centre with a well on the underside, and the tops are shaped approximately quarter circle. Inscriptions are pressed into each nib. The script pens have detachable reservoirs made of a metal different to the nib. (Card 1) Round Hand Pens, 11 nibs remain from card of 12. Printed on card “Round Hand Pens for Beautiful Writing, Twelve degrees of point, Square points. William Mitchell, Birmingham, England. This card is issued by British Pens Ltd. MADE IN ENGLAND” Also printed on top left of card is a pen drawing of a person writing at a desk, background of decorative 3-paned window in brick wall. (Card 2) Script Pens; 11 nibs remain from card of 12. “Script pens fitted with detachable reservoir. William Mitchell, Birmingham, England. This card is issued by British Pens Ltd. MADE IN ENGLAND” Also printed on top right of card is a pen drawing of a person writing at a desk, background of decorative 3-paned window in brick wall. On Card 1, - each nib is stamped with its size, and “Wm MITCHELLS / PEDIGREE / ROUND HAND / ENGLAND” - hand written on front bottom of card in ball point pen “Lettering 5 times size of nib” - hand drawn on back of card in red and blue ball point pen are scribbled lines On Card 2 - each nib is stamped with its size, and “WILLIAM / MITCHELLS / SCRIPT PEN / ENGLAND” - a black circle corresponding to the nib is printed on the card above each nib. - hand written on back of card in black felt tip pen are numerals - hand drawn on back, 4 parallel lines in red ball point pen with the numbers “10” between 2 of the lines flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, great ocean road, william mitchell calligraphy ltd, british pens ltd., pen nib, writing implement, dip pen, round hand nib, script nib, birmingham manufacturer, communication in writing, mass produced pen nibs -
Ballarat Tramway Museum
Photograph - Colour Print/s - set of 30, Carolyn Dean, 2004
Set of 30 colour prints, taken by C. Dean from 30/10/2004 to 2/1/2005 of the rebuilding of the sub-station and initial tramway operations. .1 - Interior view of substation after transformer removed - 30/10/2004 .2 - ditto .3 - ditto .4 - ditto .5 - G.Wood, A. Reither working on the re-building of the walls. .6 - Temporary door .7 - Sign on No. 39 - "There are no trams running today". .8 - COTMA Storage shed frame at Bungaree - 2/12/2004 .9 - 38 outside shed, pending delivery of the transformer - 17/12/2004 .10 - 38 and 1 ditto .11 - ditto .12 - The box arrives - with forklift and G. Wood .13 - unpacked .14 - ditto - with P.Mong .15 - ditto .16 - ditto .17 - P.Mong checking delivery .18 - moving into position - G.Wood and P.Mong .19 - ditto .20 - ditto with Pallet mover. .21 - In position .22 - ditto .23 - No. 40 being repainted .24 - 38 and 1 outside the shed .25 - framing the new walls .26 - ditto .27 - new device frame .28 - The BTM big band - re-opening day - 26/12/2004 .29 - ditto - Sam Boon .30 - No. 26 and that road traffic - cars! - Wendouree Parade - 2/1/2005Each photo has on rear in ink "date", "number" and "Photo by Carolyn Dean"btm depot, substation, wendouree parade, tram 38, tram 1 -
Kiewa Valley Historical Society
Photograph - Folder of Photographs – Photocopied set of black and white photographs (pages 49 -58) from the display folder put together by KVHS to document life on the Kiewa Valley Hydro-electric Scheme
Although the Kiewa Hydro-Electric Scheme was first proposed in 1911, construction did not commence until 1938. As part of the push to cut electricity costs and diversify supply, the Victorian Government (circa 1930) initiated the conversion from primarily brown coal supply to hydro – electricity. Field investigations during the 1940’s resulted in a new proposal for a scheme that had more than double the capacity of the 1938 scheme. The Kiewa Hydroelectric Scheme became the largest scheme of its kind in the State Of Victoria and the second largest scheme in Australia. The number of personnel involved in the planning and construction of the scheme increased dramatically. During the late 1940’s, most activity centred around the construction of the West Kiewa Power Station, Rocky Valley Reservoir, McKay Creek Power Station and the Bogong Creek Aqueduct.A common thread across all the larger hydro scheme constructions was the need for workers, both qualified and unqualified who came from around the world seeking a new life for themselves and their families. New accommodation and facilities were required for the army of workers engaged in construction in often remote and wild areas. The SEC had a high demand for timber, and set up the first of a number of sawmills at Bogong Creek in 1939 and set up the first hardwood logging in the headwaters of the Kiewa River. These new ‘towns’ such as Mt Beauty and Bogong, survived, serving the needs of operational personnel and their families, and expanding with growth of new industries. Mount Beauty, and to a lesser extent Bogong, are among these places. Large A3 size spiral bound display folder containing photocopied black and white photographs of various aspects of the early days of the Kiewa Valley Hydro-electric scheme including equipment, various work sites and photographs of workers and their families. 1-Workmen working inside one of the tunnels. 2-Workman drilling in West Kiewa Tunnel 3-Junction Dam wall construction 4&5-2B&W photographs Kiewa House residents ready to go to a ball in Mt Beauty 6-Workmen warming up in front of a fire at No 1 bench 7-Workmen being hauled in at No 4 P.S Shaft 8-No 4 Power Station – Drilling 9-Workmen eating a hot meal in the tunnel. 10-2 photographs (a)Pretty Valley camp showing workman’s huts and construction materials & (b)Worker in Langford Gap Basalt Hill Tunnel face 11-Tunnel entrance (unlabelled) with rail tracks in foreground 12- Workmen drilling at No 1 Head race tunnel-Drilling face 13- No 1 Power Station 14-Workmen at the entrance to one of the SECV tunnels under construction 1-SECV number at bottom of picture Half obscured possibly K8461 Page number 53 2-In West Kiewa Tunnel Page number 54 3- Construction of Junction Dam wall – approximately 1941 Page number 55 4&5- Residents of Kiewa House at Bogong ready to go to the ball at Mt Beauty-1946. Handwritten on a copy of the photo on opposite page Mrs Lorna Crosset filled out the names *Dad was Des Crossett – his daughter is Gael Petcopoulis Greta engaged to John broke it off. Charlie, Rosalind, Bill, Priscilla, Max Lawrence-Dad’s Boss, Mary & Max married, Mary, Kay, Gwen McPherson Mum’s boss, John McCluskey (c) At No. 5 Bench Page number 56 6- STATE ELECTRICITY COMMISSION OF VICTORIA Date: 27.2.51 Time:2.15pm No K6373 Kiewa Hydro Electric Works No. 4 P.S. Shaft – Haulage of men in buckets (b) As above Handwritten at top of photo Appendix 4 page number 57 7- STATE ELECTRICITY COMMISSION OF VICTORIA Date: 6.6.52 Time:… No K7122 Kiewa Hydro Electric Works No. 4 POWER STATION – DRILLING page number 58 8-No markings page number 59 9-(a)Handwritten under photograph Approx. 1948/49 (b) STATE ELECTRICITY COMMISSION OF VICTORIA Date: 28.10.54 Time:.. No K7860 Kiewa Hydro Electric Works LANGFORD GAP BASALT HILL TUNNEL FACE Page number 49 10-(a) No markings 11- STATE ELECTRICITY COMMISSION OF VICTORIA Date: 20.3.52 Time: No K6979 Kiewa Hydro Electric Works No. 1 HEAD RACE TUNNEL – DRILLING FACE (E.E.E. CONTRACT) ‘The Frenchies’ (E.E.E) as they were affectionately known Page number 50 12-31.5.56 No. 1 Power Station Aggregate Stock Piles. Page number 51 13&14-No markings Page number 52 secv; kiewa hydro electric scheme; bogong; mt beauty; construction area -
The Beechworth Burke Museum Research Collection
Card (Series) - Index Card, George Tibbits, Ford Street, Beechworth, 1976
George Tibbits, University of Melbourne. Faculty of Architecture, Building and Town & Regional PlanningIndex system that support the research for Beechworth : historical reconstruction / [by] George Tibbits ... [et al]Arranged by street names of BeechworthEach index card includes: street name and number of property, image of property, allotment and section number, property owners and dates of ownership, description of the property according to rate records, property floor plan with dimensions.beechworth, george tibbitsbeechworth, george tibbits -
Kiewa Valley Historical Society
12 small black and white photgraphs of Junction Dam and surrounding area, Photo No. 1 c1940, all others c 1948
Junction Dam is a reinforced slab and buttress type construction and was commenced in February, 1940 by Lewis Construction Company. Stiff leg derricks were erected at appropriate locations at the site of the dam and used for the disposal of excavated material and the placing of concrete. A rock crushing and screening plant was established at a site a short distance upstream from the dam site and concrete was supplied from a central mixing plant placed close to the upstream toe of the structure. The SEC took over the construction in April 1942 and the dam wall was completed in March, 1944. Bogong township was commenced in early 1940 with the construction of a workmen's camp housing 96 men, (known as Junction camp). Construction of housing for families commenced shortly after. Forty houses, plus office, workshops, stores and laboratory accommodation were completed over the next 5 years,Of historical significance as a pictorial record of Junction Dam, Lake Guy and Bogong Village, as the photos were taken only 4 years after completion and one photo taken on completion of the dam wall but before the lake was filled with water.12 small black and white photographs of Junction Dam, Bogong Village and surrounding area.Photo 1 - On the back upper edge in pen 'Junction Dam'. Then '12' in pencil, circular stamp, printed in centre 'Print by Willson White Albury'. Photo 2 - On the back upper edge in pen 'Junction Dam October 1948'. Stamp as no. 1 photo. Stamp '998L' lower centre. Photo 3 - on the back upper edge in pen 'Junction Dam October 1948'. Circular stamp with 'Kodak Print' . Lower centre back is stamped 'velox' and '998L'. Photo 4 - upper back, in ink - 'Junction Dam Spion Kopje in background. October 1948'. Stamps as photo no. 4. Photo 5 - upper back, in ink - 'Lake Guy (orange filter) October 1948'. Centre back, in pencil '29' and circular stamp with words 'Print by Willson White Albury'. Photo 6 - upper back edge 'Junction, Bogong from Radio Receiving Shack Dec. 1948'. In pencil '14'. Photo 7 - On back of photo 'View of Mountains from Little Arthur Fire Track October 1948'. Two circular stamps with 'Kodak Print', another two stamps - 'Velox' and '998L'. Photo 8 - On back in ink 'Loone's Store Bogong with Spion Kopje in background. October 1948'. Lower down, stamps 'Velox' and '998L'. Part of circular stamp with one word 'Kodak'. Photo 9 - on back in ink 'Junction Camp, Bogong Village & Lake Guy from Little Arthur Fire Track. October 1948'. Stamped across writing '998L'. Lower down stamped 'Velox' and circular stamp with words 'Kodak Print'. Photo 10 - on back in ink 'Junction Camp & Bogong Village Lake Guy in Foreground. October 1948'. Stamps as photo 9. Photo 11 - on back in ink 'Junction Camp & Bogong Village, Lake Guy in Foreground. October 1948'. Lower stamp '998L'. Photo 12 - 'Junction of Rocky & Pretty Rivers with tennis courts in foreground October 1948' . Circular stamp with words, 'Print by Willson White Albury'. Number '29' written pencil.junction dam; bogong village; kiewa hydro electric scheme; lake guy -
Eltham District Historical Society Inc
Photograph - Digital Photograph, Alan King, Kangaroo Ground Presbyterian Church, 28 December 2007
Built in 1878, the orange polychromatic brick structure replaced a slab building which had been used since 1951. The building has changed little with its handsome bricks buttressed on both sides, a slate roof and a Celtic cross on top of the front gable. The carved wooden pulpit and 18 pews are original. The cathedral-style ceiling is fully lined with tongue-and-groove pine boards and the floor is also pine. The walls have arched oblong leadlight windows. In 1977 the congregaton decided not to join the Uniting Church, whcih amalgamated some Presbyterian churches with all the Methodist and Congregational churches in Australia. Together with the store and school, the church is one of Kangaroo Ground's three public buildings. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then / Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p91This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, kangaroo ground presbyterian church -
Eltham District Historical Society Inc
Photograph - Digital Photograph, Marguerite Marshall, Rice House, 69 Ryans Road, Eltham, 27 March 2007
Built in 1953, the Rice House was leading Melbourne architect Kevin Borland's first commssion and was one of two houses of its kind. The design of the shell-like structure was inspired by the Arch of Ctesiphon, built in the second century south of Baghdad. Cement with a waterproofing agent was applied in layers to a form of regularly spaced timber arches covered in hessian. This ctesiphon system was developed in the United Kingdom by engineer J.H. de Waller in 1947. Commissioned in 1951 by Harrie and Lorna Rice, after Harrie, then an art student, met Borland at The Age Small Homes Service. Borland suggested they buy land in Eltham because at that time it was the only council in Melbourne that would grant a permit for such an innovative house. Covered under Victorian Heritage. Published: Nillumbik Now and Then / Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p157This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, eltham, rice house, ryans road -
Eltham District Historical Society Inc
Photograph - Colour Print, Eltham Shire Council, Rear entrance to Franco's Pizzeria Restaurant, Commercial Place, Eltham, c.1988
The main entrance to Franco's was from Main Road. It was run by Sammy and another family member. Franco's was a 2 story restaurant. Pizza take away downstairs. Licensed, BYO upstairs. Downstairs originally had a female pianist/singer and the walls were a peachy pink colour with horse shoe shapes in the plaster, upstairs was a full function room with dance floor. It was renovated in the early 90s and a full bar added downstairs. They sold up and then opened a take away pizza shop on Bolton Street. The Penguin Drycleaners building was an extension built right over the entrance garden; the building to the left the former Volumes now Missing Gorilla. One of a series of 6 images taken by Eltham Shire Council officers recording litter being prevalent around the shopping precinct and carparks spreading from Luck Street through Commercial Place top Arthur Street, Elthamarthur street, car park, carparks, commercial place, eltham shopping centre, eltham shops, litter, luck street, franco's pizzeria, missing gorilla, volumes, penguin drycleaners -
Eltham District Historical Society Inc
Photograph, William Hall, Possibly Caroline Fairlie Stewart (nee Kidd) on left and Unidentified Shillinglaw Family Female (sister?) on right, c.1885
The two women may be sisters (Kidd family) Duplicate image in Album 3 (05665) William Hall operated at 114 Brunswick St., Fitzroy, Victoria, between 1875-1886 (SLV and Sands directory) CABINET 1866-1905 The Cabinet photo was introduced in 1866 in answer to a demand for a larger format photograph which could be mounted for a cabinet or on the wall. They were 4.5 inches by 6.5 inches (11.5 x 16.5 cm), more than twice the size of the cdv. They cost about twice as much as a cdv but eventually displaced them. They were not extensively produced until 1880 and had ceased by 1905. Coloured mounts, especially maroon or green, indicate a date between 1880 and 1890. - Frost, Lenore; Dating Family Photos 1850-1920; Valiant Press Pty. Ltd., Berwick, Victoria 1991marg ball collection, shillinglaw family photo album 2, cabinet photo, 1875-1886, 1885, caroline fairlie stewart (nee kidd), female shillinglaw 2, house, kidd family, unknown, william hall photographer 114 brunswick street -
Eltham District Historical Society Inc
Photograph, H.H. Hemmings, Possibly Florence May Aldous, c.1905
Note: No wedding ring is visible on her left hand so possibly shortly before her marriage to William Beere. H.H. Hemmings Photographers were operating at 8 Edinburgh St, Richmond from 1905 through 1910 according to Sands McDougall directories CABINET 1866-1905 The Cabinet photo was introduced in 1866 in answer to a demand for a larger format photograph which could be mounted for a cabinet or on the wall. They were 4.5 inches by 6.5 inches (11.5 x 16.5 cm), more than twice the size of the cdv. They cost about twice as much as a cdv but eventually displaced them. They were not extensively produced until 1880 and had ceased by 1905. Coloured mounts, especially maroon or green, indicate a date between 1880 and 1890. - Frost, Lenore; Dating Family Photos 1850-1920; Valiant Press Pty. Ltd., Berwick, Victoria 1991cabinet photo, marg ball collection, 1905, 1905-1910+, florence may aldous, hemmings photographer 8 edinburgh st. burnley, shillinglaw family photo album 3, unknown -
Eltham District Historical Society Inc
Photograph, F.B. Mendelssohn & Co, Elizabeth Shillinglaw and John Docherty in Salvation Army uniform, c.1890
Elizabeth is not wearing a ring so date is before marriage in 1894 F.B. Mendelssohn & Co operated from Queen's Walk Studios, Victoria Buildings at 80 Swantson Street, Melbourne from 1888-1915 according to Sands McDougall directories CABINET 1866-1905 The Cabinet photo was introduced in 1866 in answer to a demand for a larger format photograph which could be mounted for a cabinet or on the wall. They were 4.5 inches by 6.5 inches (11.5 x 16.5 cm), more than twice the size of the cdv. They cost about twice as much as a cdv but eventually displaced them. They were not extensively produced until 1880 and had ceased by 1905. Coloured mounts, especially maroon or green, indicate a date between 1880 and 1890. - Frost, Lenore; Dating Family Photos 1850-1920; Valiant Press Pty. Ltd., Berwick, Victoria 1991cabinet photo, marg ball collection, shillinglaw family photo album 3, 1888-1915, 1890, elizabeth docherty (nee shillinglaw 1861-1942), john docherty, mendelssohn f.b. & co photographer queens walk melbourne, salvation army -
Eltham District Historical Society Inc
Photograph, The Rembrandt Photo Studios, Christopher Watson and Carrie Shillinglaw, c.1905
Christopher Watson and Caroiline Shillinglaw married in 1907. Their daughter Jean was born in 1906. This image is dated c.1905 before the birth of Jean. The Rembrandt Photo Studios (Misses I & N Hicks) operated from 284 Collins Street from 1904-1910 CABINET 1866-1905 The Cabinet photo was introduced in 1866 in answer to a demand for a larger format photograph which could be mounted for a cabinet or on the wall. They were 4.5 inches by 6.5 inches (11.5 x 16.5 cm), more than twice the size of the cdv. They cost about twice as much as a cdv but eventually displaced them. They were not extensively produced until 1880 and had ceased by 1905. Coloured mounts, especially maroon or green, indicate a date between 1880 and 1890. - Frost, Lenore; Dating Family Photos 1850-1920; Valiant Press Pty. Ltd., Berwick, Victoria 1991cabinet photo, marg ball collection, 1905, 1905-1910, caroline (carrie) watson (nee shillinglaw) 1876-1956, christopher watson, horse and carriage, rembrandt photographers eastern market melbourne -
Eltham District Historical Society Inc
Photograph, T. Wood, Unidentified family, c.1895
Photographer T. Wood, St George's Studios operated frpm 238 Bourke St East, Melbourne from about 1891 through to 1897 at which point the premises was taken over by Yeoman & Co in 1898 CABINET 1866-1905 The Cabinet photo was introduced in 1866 in answer to a demand for a larger format photograph which could be mounted for a cabinet or on the wall. They were 4.5 inches by 6.5 inches (11.5 x 16.5 cm), more than twice the size of the cdv. They cost about twice as much as a cdv but eventually displaced them. They were not extensively produced until 1880 and had ceased by 1905. Coloured mounts, especially maroon or green, indicate a date between 1880 and 1890. - Frost, Lenore; Dating Family Photos 1850-1920; Valiant Press Pty. Ltd., Berwick, Victoria 1991cabinet photo, marg ball collection, 1892-1897, 1895, house, male shillinglaw 11, t. wood photographer 238 bourke st east melbourne, unknown -
Flagstaff Hill Maritime Museum and Village
Card - Commemorative, Julian Aird, 'Illumination', Early 21st Century
The photograph was created by Geelong artist Julian Aird and framed by a business in Geelong. The window in the photograph is of the 1928 stained glass window and the baptism fold in the St Nicholas' Seamen's Chapel at Flagstaff Hill Maritime Village, which were installed at Flagstaff Hill's for the Chapel's opening in 1981. About the Window - The window in this photograph, once known as the Dr Connell Memorial Window, was a feature of an external wall adjacent to the Women’s and Children’s Wards of Warrnambool Hospital. Honorary Doctors had played a significant role in the operation of the hospital between the years 1900 to 1939. One of these doctors was Dr. Connell, who passed away in 1928. The green glass memorial nameplate has an inscription that dedicates the window to Dr. Connell. The inscription reads: "A tribute to Egbert John Connell M.B.B.S. who for 30 years rendered devoted and valuable service to this institution. Obiit April 4th 1928, A.D." The photograph's significance lies in the subject of the stained glass window, and its connection with the history of the local Warrnambool Base Hospital, dating to Dr Connell's work there in the early 20th century.This photograph captures the light shining through an arched, stained glass window behind a baptismal font. Rectangular framed photograph, portrait view, behind glass, with black frame and matt. A cord for hanging it is attached at the black, and there is a black, round felt pad on each lower rear corner. The photograph by Julian Aird is titled 'Illumination' and was framed in Geelong. Details of title, and photographer are handwritten on the back and and printed label gives the contact details of the framer. Written by hand in black pen " 'ILLUMINATION' / MARITIME MUSEUM WARRNAMBOOL", "JULIAN AIRD / TEL/FAX. 03 52890457" " Printed on adhesive label "EASTERN VIEW / PICTURE FRAMERS" "Proprietors Steven & Annemarie Hocking / 162 Malop Street, Geelong, Vic, 3220 / Ph. (03) 5229 5935" Logo on label in centre of oval with text [2 tall water birds facing each other with a water fountain between them]flagstaff hill maritime museum & village, maritime museum, maritime village, great ocean road, shipwreck coast, ulian aird, illumination, photograph, dr. connell, stained glass window, baptism font, gbert john connell, st nicholas seamen's church, warrnambool hospital, dr connell memorial window, eastern view picture framers, steven & annemarie hocking -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Manufactured Objects, Thumb Tacks 'Ivory', 20thC
A thumb tack, push pin or drawing pin is a short nail or pin used to fasten items to a wall or board for display and intended to be inserted by hand, generally without the assistance of tools. A variety of names are used to refer to different designs intended for various purpose. Edwin Moore invented the "push-pin" in 1900 and founded the Moore Push-Pin Company. Moore described the push-pin as a pin with a handle. Later, in 1904, in Lychen, German clockmaker Johann Kirsten invented flat-headed thumb tacks for use with drawings. A thumb tack has two basic components: the head, often made of plastic, metal or wood, and the body, usually made of steel or brass. The head is wide to distribute the force of pushing the tack in, allowing only the hands to be used. Many head designs exist: flat, domed, spherical, cylindrical and a variety of novelty heads.Cardboard box with sliding insert that contained 48 'IVORY' Brand celluloid head Thumb Tackson Box ; 48 / 48 / CELLULOID HEAD THUMB TACKS / 'G' / PIN WILL NOT / PASS THROUGH / BEST / QUALITY / IVORY / BRAND / MADE IN GERMANYdrawing pins, thumb tacks, brass tacks, moore edwin, kirsten johann -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Manufactured Objects, Thumb Tacks 'GURA', GURA Pty Ltd
A thumb tack, push pin or drawing pin is a short nail or pin used to fasten items to a wall or board for display and intended to be inserted by hand, generally without the assistance of tools. A variety of names are used to refer to different designs intended for various purpose. Edwin Moore invented the "push-pin" in 1900 and founded the Moore Push-Pin Company. Moore described the push-pin as a pin with a handle. Later, in 1904, in Lychen, German clockmaker Johann Kirsten invented flat-headed thumb tacks for use with drawings. A thumb tack has two basic components: the head, often made of plastic, metal or wood, and the body, usually made of steel or brass. The head is wide to distribute the force of pushing the tack in, allowing only the hands to be used. Many head designs exist: flat, domed, spherical, cylindrical and a variety of novelty heads. Cardboard box with sliding insert that contained 3 Doz. GURA Brand Thumb Tacks On box ; MADE IN GERMANY / BEST / QUALITY / 3 doz. / THUMB-TACKS / Pin will / not pass / through the head / GURA / Trade Mark -
Churchill Island Heritage Farm
Functional object - Milk/Cream Separator
This device would separate the cream from milk using a hand operated lever. When turned, the lever would activate a disc which would spin the separator bowl at a great speed. Through this use of centrifugal force, the cream would gather in the middle while the milk would be pulled towards the outside walls of the bowl. Once the rotation ceased, the milk and cream would flow out of two separate spouts. Prior to the invention of the separator, gravity was used to naturally separate the cream from the milk. The cream rose to the top and was then skimmed by hand. This process was lengthy and often resulted in sour milk, so the invention of the mechanical separator was popular in the dairy industry as there was less waste and encouraged greater production levels. Alfa Laval is a Swedish company founded in 1883. Beginning with domestic farm machinery and dairy products, they expanded to heavy industry and are still successful today. Metal cream separator mounted on red base with bowl, double spouts.Alfa Lavalfarm machinery, dairy equipment, milk, cream, separator, hand operated -
Churchill Island Heritage Farm
Functional object - Milk/cream separator
This device would separate the cream from milk using a hand operated lever. When turned, the lever would activate a disc which would spin the separator bowl at a great speed. Through this use of centrifugal force, the cream would gather in the middle while the milk would be pulled towards the outside walls of the bowl. Once the rotation ceased, the milk and cream would flow out of two separate spouts. Prior to the invention of the separator, gravity was used to naturally separate the cream from the milk. The cream rose to the top and was then skimmed by hand. This process was lengthy and often resulted in sour milk, so the invention of the mechanical separator was popular in the dairy industry as there was less waste and encouraged greater production levels. This separator is missing its bowl, however the two spouts for the milk and the cream can clearly be seen.Metal top, bowl missing ;burgundy pedestal base with handlefarm machinery, dairy equipment, milk, cream, separator, hand operated -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Work on paper - ink and watercolour, Annette Meikle, Black Rock House, 1977
In 1977, artist Annette Meikle undertook a commission to illustrate a book recording stories of places and people in the Bayside area. It was published in 1978 as Sandringham Sketchbook, with text by Elizabeth Waters. The sketches were intended to record remaining examples of Bayside’s early architecture and environment, as well as reflect newer architectural changes. Meikle went on to donate 22 of these sketches to Bayside City Council in 2003. Black Rock House was built in 1858 by wealthy land dealer and politician Charles Hobson Ebden as a holiday home on 112 acres of virgin scrub, taking in the area of present day Balcombe Road, Beach Road and the line of Keating Street. The house included four bedrooms, a cellar, stables and a courtyard enclosed in castle-like sandstone walls. It was named Black Rock House after Black Rock Castle near Dublin, associated with Mrs Ebden’s childhood.Annette Meikle, Black Rock House 1977, ink and watercolour, 33 x 53.5 cm. Bayside City Council Art and Heritage Collection. Donated by the artist, 2003annette meikle, sandringham sketchbook, elizabeth waters, black rock house, black rock, charles hobson ebden, architecture, historic house -
Ararat Gallery TAMA
Print, Nanette Bourke, The Growth of Tourism, 1988
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Nanette Bourke, Opening up the Land, 1995
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Nanette Bourke, Return of the Grasstrees, 2007
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, No, I don't want to live to 100, Thank you, 1992
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, Watch Over All Living Things, 1996
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, Starleaf Grevillea, 2008
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.