Showing 194 items matching national style
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Robin Boyd Foundation
Document - Script, Robin Boyd, University of the Air. Design in Australia 1. The International Blender, 1964
... national style... nationality national style manuscript Robin Boyd ...Robin Boyd was involved in creating several television programmes, as author and presenter. 'Design in Australia' was an eight part series for the ABC television series 'University of the Air'. (Items D184-D193 contain all the manuscripts except part six titled 'Communications'.) In Part 1, Boyd discusses the general framework of the series in which the relationship between an Australian identity and a homogenising cultural force reinforced by technology and mass production is explored. Boyd questions the wholesale acceptance of imported ideas and goods, and instead advocates a critical examination of the Australian design culture, a search of an originality that does not fall into the myths of bush values.This is a draft script for the ABC television program 'University of the Air', subtitled 'Design in Australia', broadcast in 1965. Item D191 is the revised version.Typewritten (c copy), foolscap, 12 pagesuniversity of the air, design in australia, robin boyd, australian design, nationality, national style, manuscript -
Robin Boyd Foundation
Document - Script, Robin Boyd, University of the Air. Design in Australia 1. The International blender. Working Script, 06.11.1964
... national style... design nationality national style manuscript OHM2022 OHM2022_30 ...Robin Boyd was involved in creating several TV series for the ABC University of the Air. 'Design in Australia' was an eight part series. (Items D184-D193 contain all the manuscripts except part six titled 'Communications'.) In part 1, Boyd discusses the general framework of the series in which the relationship between an Australian identity and a homogenising cultural force, reinforced by technology and mass production, is explored. Boyd questions the wholesale acceptance of imported ideas and goods, and instead advocates a critical examination of the Australian design culture, a search of an originality that does not fall into the myths of bush values. (Same content as item D184, differing Video cues of LHS of page.)This is a script for the ABC television program 'University of the Air', subtitled 'Design in Australia', broadcast in 1965. Item D184 is the draft version.Typewritten (c copy), foolscap, 9 pagesuniversity of the air, design in australia, robin boyd, australian design, nationality, national style, manuscript, ohm2022, ohm2022_30 -
Robin Boyd Foundation
Document - Script, Robin Boyd, University of the Air. Design in Australia 4. Architecture, 1964
... , Boyd believes that a genuine national style should be grasped... of an Australian architecture, Boyd believes that a genuine national style ...Robin Boyd was involved in creating several TV series for the ABC University of the Air. 'Design in Australia' was an eight part series. (Items D184-D193 contain all the manuscripts except part six titled 'Communications'.) In Part 4, despite various directions in the search of an Australian architecture, Boyd believes that a genuine national style should be grasped in the sculptural and spatial qualities of the buildings rather than iconography or climate-driven designs since Australia has diverse geological condition.This is a draft script for the ABC television program 'University of the Air', subtitled 'Design in Australia', broadcast in 1965.Typewritten (c copy), pencil edits, foolscap, 14 pagesRobin Boyd's handwriting, on top right.university of the air, design in australia, robin boyd, australian style, john sulman, hardy wilson, leslie wilkinson, local idiom, manuscript -
Kew Historical Society Inc
Photograph - 'Mynda', 5 Molesworth Street, 1979
... a characteristic of the Federation Style.' (National Trust Victoria... course a characteristic of the Federation Style.' (National Trust ...'A suburban villa of 1885 designed by Lloyd Tayler for his daughter and son-in-law on a plan centred upon an octagonal top-lit hall. A square bay window to the drawing room projects from the front corner of the house at 45 degress, showing for the first time the diagonal emphasis which was to be developed in other works of the architect and to become in due course a characteristic of the Federation Style.' (National Trust Victoria Citation)Original colour positive photograph (Kodak print) of the front garden of 'Mynda', 5 Molesworth Street, KewInk on reverse: "Miss Anderson's / No.5 Molesworth St. / Cottage garden / Taken and ***"historic gardens -- kew (vic.), mynda, 5 molesworth street -- kew (vic.) -
Greensborough Historical Society
Book, Historic Buildings of Victoria, 1966_
A listing of National Trust listed buildings from around Victoria in 1966. Each entry has a photograph and caption with some history of the building. Arranged by region.The development of architectural style in Victoria.278 pages, black and white illustrations. Hard cover. Dust jacket has illustration of interior of the Library of the Supreme Courtmelbourne architecture, victoria architecture, historic buildings victoria, national trust of australia, victoria -
Federation University Historical Collection
Book, The Work of Dwight James Baum, 1927 (exact)
Dwight James Baum is an American architect. He was born in 1886 in Newville, New York. As a young man, Baum moved to Syracuse. In 1909, he graduated from Syracuse University with an architecture degree. He worked for Boring and Tilton and Sanford White which are well known Architecture firms in America. Around 1912, he started his own residential design firm. During the 1920s, Baum designed a significant buildings and several houses in Sarasota, Tampa, Terrace, Temple and Florida all in the Mediterranean Revival Style such as the Ringlings dubbed Cà d'Zan, which is now known as the John and Mable Ringling Museum of Art. In 1923-1924, he also designed Sunset Hill for Mrs. Eugene D. Stocker at Warren, New York which was listed on the National Register of Historic Places in 2007. During the Depression Baum became involved with Good Housekeeping Magazine as consulting architect, and as designer of their building exhibit at the 1933 Chicago World's Fair. His later work includes Hendricks Memorial Chapel at Syracuse University, with John Russell Pope in 1929–1930 and the pedestal for V. Renzo Baldi's statue of Columbus in the city's Columbus Circle. Dwight James Baum died in 1939. Book with large blue hard cover. Title is written on the front cover and the spine in gold. Manufacturer's logo is written on front cover in gold. The book includes index, preface and an introduction. black and white illustrations, plates and floor planes of the architect's work such as Ca d Zan, the fantastical Venetian Gothic waterfront palace of John and Mable Ringling in Sarasota, Florida and the stately Italianate house of Anthony Campagna in Riverdale, New York and more.architecture, architectural designs, art moderne, domestic designs, ca d zan -
Federation University Historical Collection
Booklet, Report on the Viability of Establishing a Post Secondary Education Facility Located at the Aradale Traininf Centre, Ararat, Victoria, 1993, 12/1993
Aradale is located 3 km from the centre of Ararat and covers approximately 101 hectares. It consistes of an impresive group of mainly heritage buildings of national significance surrounded by open farmland. Aradale was designed in 1864 in the Victorian Italianate style by John James Clark of the Public Works Department, Victoria. A three storey nurses quarters was built in the 1930s and the Forensic Psychaitry Centre was established in the 1980s. The design of asylums as a specific building type orginated in England in the mddle of the 19th century when it was decided that 'pauper lunatics' would be better cared for in a separate institution rather than being house within the workhouses. Some of the early purpose built asylums were based on the radiating principle of prisons but the arrangement of separat wings at right angles used in hospitals and whorkhouse design soon came to be seen as the most appropriate. The largest 19th century asylum in England was built at Colney Hatch. Kew, Beechworth and Ararat Asylums closely followed the Colney Hatch model. In victoria the population rose due to the gold rushes resulting in severe housing shortages, and additional pressure on asylums. The first asylum in Melbourne was established at Y arra Bend. In 1862 a new asylum was established at Kew. Ararat Asylum and Beechworth Asylum were designed in 1864. Ararat was opened on 19 October 1867, with Beechworth Asylum opening five days later. Soft covered bookletararat regional development board inc., aradale training centre, aradale, grano street ararat, alfred st ararat, ivar nelson, john christie, jon duggan, wes matthews, peter helfer, michael burke, john grant, asylum, lunatic asylum, colney hatch asylum, ararat asylum, fever tents, sunbury asylum, kew asylum, beechworth asylum, wine industry training -
Marysville & District Historical Society
Painting (Item) - Oil painting, William Beckwith McInnes, Near Marysville, Unknown
A copy of an oil painting titled "Near Marysville".A copy of an oil painting titled "Near Marysville" by W.B. McInnes. William Beckwith McInnes (1889–1939) was an Australian portrait painter, winner of the Archibald Prize seven times for his traditional style paintings. He was acting-director at the National Gallery of Victoria and an instructor in its art school. william beckwith mcinnes, archibald prize, marysville, victoria -
Australian National Surfing Museum
Photograph, Unknown, Reno Abellira Holding Twin Fin Surfboard, circa 1977
Reno Abellira was one of the top surfers to come out of Hawaii during the seventies. He was noted for his speed and style on the wave culminating in success on the early professional surfing circuit. The twin fin surfboard was a natural progression from the single fin and one of the most popular types of surfboard ridden during the mid-seventies.Reno Abellira was one of Hawaii's top surfers and one if its first professional surfers during the seventies. This rare photograph shows Reno holding his 'tools in trade' a twin fin surfboard.Black and white photograph of Hawaiian surfer Reno Abellira holding the tail of a twin fin surfboard. Abellira is wearing an O'Neil full length wetsuit.O'Neill logo on wetsuitreno abellira, twin fin surfboard, o'neill wetsuits -
Flagstaff Hill Maritime Museum and Village
Book, A Handbook of Architectural Styles
This item is from the ‘Pattison Collection’, a collection of books and records that was originally owned by the Warrnambool Mechanics’ Institute, which was founded in Warrnambool in 1853. By 1886 the Warrnambool Mechanics’ Institute (WMI) had grown to have a Library, Museum and Fine Arts Gallery, with a collection of “… choice productions of art, and valuable specimens in almost every branch and many wonderful national curiosities are now to be seen there, including historic relics of the town and district.” It later included a School of Design. Although it was very well patronised, the lack of financial support led the WMI in 1911 to ask the City Council to take it over. In 1935 Ralph Pattison was appointed as City Librarian to establish and organise the Warrnambool Library as it was then called. When the WMI building was pulled down in 1963 a new civic building was erected on the site and the new Warrnambool Library, on behalf of the City Council, took over all the holdings of the WMI. At this time some of the items were separated and identified as the ‘Pattison Collection’, named after Ralph Pattison. Eventually the components of the WMI were distributed from the Warrnambool Library to various places, including the Art Gallery, Historical Society and Flagstaff Hill. Later some were even distributed to other regional branches of Corangamite Regional Library and passed to and fro. It is difficult now to trace just where all of the items have ended up. The books at Flagstaff Hill Maritime Village generally display stamps and markings from Pattison as well as a variety of other institutions including the Mechanics’ Institute itself. RALPH ERIC PATTISON Ralph Eric Pattison was born in Rockhampton, Queensland, in 1891. He married Maude Swan from Warrnambool in 1920 and they set up home in Warrnambool. In 1935 Pattison accepted a position as City Librarian for the Warrnambool City Council. His huge challenge was to make a functional library within two rooms of the Mechanics’ Institute. He tirelessly cleaned, cleared and sorted a disarrayed collection of old books, jars of preserved specimens and other items reserved for exhibition in the city’s museum. He developed and updated the library with a wide variety of books for all tastes, including reference books for students; a difficult task to fulfil during the years following the Depression. He converted all of the lower area of the building into a library, reference room and reading room for members and the public. The books were sorted and stored using a cataloguing and card index system that he had developed himself. He also prepared the upper floor of the building and established the Art Gallery and later the Museum, a place to exhibit the many old relics that had been stored for years for this purpose. One of the treasures he found was a beautiful ancient clock, which he repaired, restored and enjoyed using in his office during the years of his service there. Ralph Pattison was described as “a meticulous gentleman whose punctuality, floorless courtesy and distinctive neat dress were hallmarks of his character, and ‘his’ clock controlled his daily routine, and his opening and closing of the library’s large heavy doors to the minute.” Pattison took leave during 1942 to 1942 to serve in the Royal Australian Navy, Volunteer Reserve as Lieutenant. A few years later he converted one of the Museum’s rooms into a Children’s Library, stocking it with suitable books for the younger generation. This was an instant success. In the 1950’s he had the honour of being appointed to the Victorian Library Board and received more inspiration from the monthly conferences in Melbourne. He was sadly retired in 1959 after over 23 years of service, due to the fact that he had gone over the working age of council officers. However he continued to take a very keen interest in the continual development of the Library until his death in 1969. A Handbook of Architectural Styles Author: W Sandars-Collett Publisher: Sandars-Collett, W Date: 1896Label on spine with typed text PAT 720 ROS Inside front cover has a sticker that reads Warrnambool Mechanics Institute and Free Library warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, book, pattison collection, warrnambool library, warrnambool mechanics’ institute, ralph eric pattison, warrnambool city librarian, mechanics’ institute library, victorian library board, warrnambool books and records, a handbook of architectural styles, w sandars-collett -
Flagstaff Hill Maritime Museum and Village
Furniture - Chair, 1897-1921
These cane chairs are one of many 19th century items of furniture, linen and crockery donated to Flagstaff Hill Maritime Village by, Vera and Aurelin Giles. The items are associated with Warrnambool and the Giles Family history. Items donated by the family have come to be known as the “Giles Collection”. Many items in the Lighthouse Keeper’s Cottage were donated by Vera and Aurelin Giles and mostly came from the home of Vera’s parents-in-law, Henry Giles and his wife Mary Jane (nee Freckleton) who married in 1880 and whose photos are on display in the parlour. Henry was born at Tower Hill in 1858, and was a labourer on the construction of the Warrnambool Breakwater before leaving in 1895 for around seven years to build bridges in NSW. Mary Jane was born in 1860 at Cooramook and she attended Mailor’s Flat State School and where she eventually was to become a student teacher. After which she became a governess at “Injemiara” where her grandfather, Francis Freckleton, had once owned land. Henry and Mary’s family consisted of six, some of the children were born at Mailor’s Flat and later some children at Wangoom. They lived with their parents at Wangoom and Purnim west, and this is where Henry died in 1933 and Mary Jane in 1940. Heywood & Wakefield Furniture Co: The Heywood-Wakefield Company is an American furniture manufacturer established in 1897. It went on to become a major presence in the US. Its older products are considered collectibles and have been featured on television antique programs. The Heywood brothers established themselves in 1826, as furniture makers and the Wakefield Company began in 1855 as a separate company. Both firms produced wicker and rattan furniture, and as these products became increasingly popular towards the end of the century, they became serious rivals. In 1897 the companies merged as Heywood Brothers & Wakefield Company (this name was changed to Heywood-Wakefield Company in 1921), purchasing Washburn-Heywood Chair Company in 1916, Oregon Chair Company in 1920, and Lloyd Manufacturing Company in 1921. While its wooden furniture plant in Gardner, Massachusetts closed in 1979, a branch in Menominee, Michigan continued to manufacture metal outdoor seats, auditorium seats, and school furniture. The Heywood-Wakefield Company Complex in Gardner was added to the National Historic Register in 1983. The South Beach Furniture Company acquired the rights to the name in 1994 and reproduces its wooden furniture. Both founding companies produced wicker and rattan furniture in the late 19th century. The wicker styles drew on the Aesthetic Movement and Japanese influences simpler designs arose in the wake of the Arts and Crafts Movement. The merged entity stayed abreast of wicker furniture trends by hiring designers such as Paul Frankl and Donald Deskey during the 1920s. Its furniture was exhibited at the 1933 Century of Progress exhibition and the 1964 New York World's Fair. During the 1930s and 1940s, Heywood-Wakefield began producing furniture using sleek designs based on French Art Deco.The Giles family collection has social significance at a local level, because it illustrates the level of material support the Warrnambool community gave to Flagstaff Hill when the village and Museum was established. The wicker furniture is a fine example of late 19th and early 20th century light weight domestic furniture that are today very collectible items and quite rare and valuable.Pair of wicker armchairs, painted dark brown. The open wicker weave pattern extends from the seat up to the armrests and completely over the backrest, plus across the front of the chair below the seat. The seat is very firmly woven and fitted into a timber frame. A reinforcing pattern of wicker work covers the top edges of the armrests and backrest in one piece and folds around to the underside, referred to as ‘rolled serpentine arms and back’. The hollow ends of the armrests are filled with a circular knob of wicker work. The back legs are also completed with decorative wicker knobs. One chair base (3788.01) has been strengthened with metal bracing. The other chair (3788.02) has the remnants of an orange manufacture’s tag fixed to the base. The chairs were made 1897-1921 by Heywood Brothers & Wakefield Company, USA. These chairs are part of the Giles Collection.Printed in black on an orange tag “MANUFA - Heywood B – GARDNE”flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, shipwreck coast, great ocean road, giles collection, giles family, henry and mary jane giles, tower hill, cooramook, warrnambool breakwater, mailor’s flat, wangoom, 19th century furniture, wicker armchairs, rolled serpentine wicker work, cane armchair, classic wicker furniture, victorian style furniture, domestic furniture late 19th century, heywood-wakefield company -
The Beechworth Burke Museum
Animal specimen - Hardhead, Trustees of the Australian Museum, 1860-1880
Interestingly, the name "Hardhead" does not refer to the density of this species skull. Instead, it refers to the difficulty encountered by early taxidermies in styling the bird's head. This particular breed of Duck is smaller than average and are often found in the coastal regions of Australia. They are also known to reside in New Guinea, New Zealand and the Pacific Islands. This species was formerly known as the 'White-eyed Duck"; however, since the female Hardhead have dark eyes, this species was renamed the "Hardhead" Duck. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This Hardhead specimen is a stocky medium-sized duck with chocolate brown colouring. The bird has paler white/ cream coloured plumage on the stomach and neck. The bill is a grey black colour and the eyes are made of a grey glass with a black pupil. The lighter brown colour of this specimen's head could refer to its identification as female or could be due to the taxidermy process or the impact of age on the colouring of the specimen. Female Hardheads have brown eyes, while the male have strikingly pale white/grey eyes. The bird has large webbed feet which are attached to the wooden platform it stands upon. The platform is inscribed on the left with the number 138.7a. / White-eyed Duck / See Catalogue, Page 39. / 138 on the wooden platformtaxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, heron, duck, australaisian shovelor, shovelor -
The Beechworth Burke Museum
Photograph, c.1914
This photograph depicts a soldier, credited on the reverse as Fred Foster. The young man is dressed in military attire and is standing tall with a gun beside him. He is located in the Australian bush and the date of the photograph is unknown. Frederick “Fred” Arthur Foster was nephew to famous Bushranger Edward “Ned” Kelly. He was born on the 15th of March 1889 in Forbes, New South Wales. He was the eldest son of Catherine “Kate” Kelly and William Henry “Bricky” Foster. After the death of his mother in October of 1898 from apparent drowning, Foster (then aged 9) was raised by his grandmother Ellen Kelly (née Quinn) at Eleven Mile Creek in Victoria. On the 29th of June 1915, 26 year old Foster travelled to Melbourne, Victoria and enlisted in the Australian Army. He was a Private in the 17th Infantry Battalion (originally C.Company, 47th battalion). He previously was attached to the 55th Battalion but transferred in 1916. Prior to enlisting in the army, Foster worked as a Bee Keeper and served in the 16th Light Horse regiment at Benalla. Foster had blue eyes, brown hair and was of Presbyterian faith. On the 28th of February 1917, Foster travelled to France aboard SS “Golden Eagle”. He was killed in action in Lagnicourt, France on the 15th of April 1917 at 28 years old. The Battle in Lagnicourt France, on the Western Front, occurred from the 1st of March to the 30th of April of 1917 and was the location of fierce fighting between Germany and the British Empire. Germany became aware of a weakness they had along the Hindenburg Line, one of these weaknesses was located in Lagnicourt which is a small village in Northern France. Therefore, the Germans decided to launch a counter-attack in this area on the 15th of April at dawn. During this fight, German forces captured several batteries of the 1st Australian Division’s artillery but the Australians led a strong counter-attack by four of their battalions and recaptured the village and most of the guns from the German forces. German forces were forced into a premature withdrawal. This battle was not undertaken in typical WW1 “trench” style warfare. Instead, the battle was up on the ground in what was described as “old open style warfare”. In this battle, slightly more than 1000 casualties were Australian, with 300 of these prisoners of war. German forces suffered a loss of over 2300 casualties with 360 taken captive. Foster was one of 43 in his regiment who died, 87 were wounded and 51 reported missing. Foster was buried at location in Lagnicourt and whilst the grave was initially marked, it is now unknown. Foster’s service, alongside those who fell at Lagnicourt, is commemorated at the Australian National Memorial in Villers-Bretonneux, France along with other national Australian memorial sites.Photography played an important part in World War 1. Photographs of men in their military uniforms served as propaganda during the Great War to reassure civilians back at home of the military prowess of their nation and the bravery of their men. It did this while hiding the true horrors which faced the men in battle. These photographs, which includes those taken at home prior to embarking overseas like Fred Foster’s, act as censored memory for those who have lost a loved one at war. It enables families to remember their relatives in their youth and standing proudly rather than having to face the actual danger and horror which faced these men at the front line. The battle of Lagnicourt France was a victory for the European Empire and therefore, men who lost their lives protecting their countries became heroes and were awarded posthumous medals for their service. Photos of soldiers in their uniforms, were undertaken by men like Foster, so their families would be able to retain their memories and likeness before they embarked for war. Many men were killed or horribly wounded so these images were important for reminding families about their sons/ husbands/ brothers/ cousins and friends. This photo is a part of the Burke Museum Kelly album which includes numerous photographs relating to the Kelly Gang. As the son of Kate Kelly and William “Bricky” Foster, Fred Foster is an important part of the Kelly story after the execution of Edward “Ned” Kelly which has information it can impart relating to the history of the family after 1880. Whilst an important element of the Kelly Album, Foster’s photograph is also historically important in its own right for its connection to the Great War and the experiences of a soldier at the Western Front.Original sepia rectangular photograph developed on matte photographic paper, unmounted.Reverse: (Top right corner of reverse:) FRED FOSTER/ (Top centre of reverse:) Kate Kelly's son.kelly album, fred foster, kate kelly, photograph, australian soldier, the kelly gang, australian bush, burke museum, sepia photo, gum trees, family of the kelly gang, world war i, langnicourt, france, great war, 1917, ned kelly, frederick foster, william "bricky" foster, ellen kelly, military history, australian military -
The Beechworth Burke Museum
Animal specimen - Ural Owl, Trustees of the Australian Museum, 1860-1880
Ural Owls are one of the largest nocturnal birds of prey and are distributed across Northern hemisphere land masses from Scandinavia in the west, across Russia and China to Japan in the east. They average between 500-640mm in length, have large ears, a very long tail, and wing spans up to 1340mm. Ural Owls display reverse sexual dimorphism. They have a range of calls and sounds that vary between regions and among subspecies. Ural Owls prefer mature primary forest habitats that are not too dense, but adapt to a range of environments, including damp heathland and high elevation mountain forests. The species is considered nocturnal but may be more correctly described as ‘cathemeral’, due to frequent daylight activity in the taiga zone. Ural Owls are non-migratory and highly territorial. They prefer to hunt from a perch into open areas of forest, seeking small mammal prey, such as voles, as well as birds, amphibians, and invertebrates. Ural Owls have a broad, rounded head and a well-developed round facial disc with a small V-shaped indentation. They tend to be plain greyish-brown to whitish overall, though some subspecies display darker colour variation. The underparts are pale cream to grey-brown and boldly overlaid with dark brown streaking. Ural Owls lack the richer colour tones of other Strix owls. Their flight style gives the appearance of a large bird. The eyes are dark brown and relatively small, and the bill is yellowish. Tarsi and toes are feathered grey and the talons are yellowish brown with darker tips. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century. This Ural Owl is an average sized specimen with a broad, rounded head and characteristic V-shaped facial marking between the eyes. Overall plumage is plain and consistent in colour and pattern, with white, brown and grey streaks. The eyes are large and the bill is small and yellow. This specimen stands on a wooden perch with identification tags attached to its leg.Swing tag: Strix noctua / Athene noctua, [illegible] / near leiden / 26 Mai 1860. / Holland / Other tag: N38 / Strix noctua / Holland. / Metal tag: 4062 /taxidermy, taxidermy mount, burke museum, australian museum, owls, birds of prey, heart-shaped faced owl, nocturnal birds, predator birds, carnivore, territorial owl, animalia, large owl, long-tailed owls, ural mountains, taiga zone owls, cathemeral, monogamous, iucn red list, strix, wood owl, attacking owl, long-tailed owl, large-eared owl, owls with facial disc -
The Beechworth Burke Museum
Photograph
This photograph depicts the façade of the Burke Museum in Beechworth. Originally built in 1857 by the Young Men's Association as the Beechworth Athenaeum, the building provided a public lecture hall and reading room for men at the peak of the gold rush era of Beechworth. In 1859, it became the Beechworth Public Library, which is why the writing embossed above the main entry says 'Library' rather than 'Museum'. The building was turned into a museum and renamed the Robert O'Hara Burke Memorial Museum in 1863 following the death of Robert O'Hara Burke on the Burke and Wills expedition in 1861, as Burke had been the Police Superintendent of Beechworth. The museum has had several additions built onto the property, most notably significant extensions in the 1970s, but the main façade depicted in the photograph has remained largely intact. The architecture is an example of provincial conservative classicism. The Burke Museum contains over 30,000 individual objects, including Gold Rush era items, taxidermy specimens, a Ned Kelly collection, and this very photograph.The Burke Museum itself is very significant to Victorian history. It is on both the Victorian Heritage Register and is part of the National Trust due to its relevance to the history of the Gold Rush period, its architectural features, and its significant collection. Photographs of it throughout its history are an important part of telling the museum's story. Although this is a modern photograph, it captures the façade of the building with similarity to the mid-nineteenth-century provincial conservative classicism style.A colour rectangular photograph printed on photographic paper.3440.1burke museum, beechworth, beechworth museum, australian museum, museum, architecture, classical architecture, conservative classicism, museum facade, library -
The Beechworth Burke Museum
Audio - Oral History, Jennifer Williams, Mrs Sheila Parkinson, 3 January 2000
Mrs Sheila Parkinson was born in Wagga in 1916 and came to Beechworth as a young woman around 1938. Sheila trained as a psychiatric nurse at Mayday Hills hospital prior to the second World War. At that time, unmarried women were accommodated and received nursing training on-site. Shiela was obliged to cease professional training and employment when she married in 1941, which disrupted completion of her final nursing examinations. Following post-war changes to the law that allowed married women to work, Sheila returned to Mayday Hills. Sheila's husband, Don, returned to Beechworth after four years abroad as a serviceman in the Australian Air Force. Beechworth's institutions were a major source of local employment throughout the twentieth century. As well as providing limited employment opportunities to young women like Shiela, post-war European migrants from Bonegilla Migrant camp found at Mayday Hills, encouraging European migrant settlement in the district. Mayday Hills was renamed several times since its establishment in 1867. At the peak of operations, it comprised sixty-seven buildings housing over twelve hundred patients patients and five hundred staff. The hospital officially closed in 1998. Today, the decommissioned two-storey Italianate style main building stands on eleven hectares of botanical gardens under National Trust protection. The site remains a popular cultural heritage destination for visitors. This oral history recording was part of a project conducted by Jennifer Williams in the year 2000 to capture the everyday life and struggles in Beechworth during the twentieth century. This project involved recording seventy oral histories on cassette tapes of local Beechworth residents which were then published in a book titled: Listen to what they say: voices of twentieth century Beechworth. The cassette tapes were digitised in July 2021 with funds made available by the Friends of the Burke.Employed as a psychiatric nurse at one of Beechworth's large welfare institutions, Mayday Hills, Mrs Sheila Parkinson recalls the conditions faced by staff and patients at the hospital, which cared for chronically ill people from the Ovens region and patients from the Yarra Bend Asylum, Melbourne, which closed in 1925. When Sheila first began her nurse training, Mayday Hills suffered from a lack of resources and rudimentary facilities and patients frequently suffered from the cold due to poor heating and inadequate clothing and bedding. However, as the twentieth century progressed, Sheila recalls how conditions and treatments improved as a result of increased government funding of services and advances in psychiatry and pharmaceutical medicine. Mrs Sheila Parkinson's oral history recording is historically and socially significant for its witness to life in Beechworth in the pre- and post-WWII period. Sheila's story enriches our understanding of processes of modernisation with regard to psychiatric and welfare services, while the course of Sheila's professional training and employment brings attention to systemic and socio-economic barriers faced by women, as well as the valuable contribution women and migrants make in the delivery of care and ancillary services. This oral history account is socially and historically significant as it is a part of a broader collection of interviews conducted by Jennifer Williams which were published in the book 'Listen to what they say: voices of twentieth-century Beechworth.' While the township of Beechworth is known for its history as a gold rush town, these accounts provide a unique insight into the day-to-day life of the town's residents during the twentieth century, many of which would have been lost if they had not been preserved.This is a digital copy of a recording that was originally captured on a cassette tape. The cassette tape is black with a horizontal white strip and is currently stored in a clear flat plastic rectangular container. It holds up 40 minutes of recordings on each side.Mrs Sheila Parkinson /twentieth century beechworth, mayday hills, psychiatric care, benevolent asylums, nursing, wwii, psychiatric treatment, country women, psychiatric hostpital, beechworth's institutions, local employment, government institutions, listen to what they say, oral history, burke museum, sheila parkinson, beechworth lunatic asylum, beechworth mental hospital, beechworth hospital for the insane, the kerferd clinic, bonegilla migrant camp, working women, white australia policy -
Eltham District Historical Society Inc
Photograph, Monash Bridge, Arthurs Creek Road, Hurstbridge, Eltham Heritage Tour, 24 May 1992, 24/05/1992
ELTHAM HERITAGE TOUR The Society excursion on 24th May 1992 was arranged by David Bick, leader of the team carrying out the Shire's heritage study. David selected a number of sites or buildings identified in the study, some of them lesser known components of the Shire's heritage. The tour commenced at the Eltham Shire Office at 10.00 am. Travel was by private car and mini-bus with stops at about twelve locations for commentary by David.It included a short walk in Hurstbridge and lunch at Kinglake. Highlights of the tour included: - 10 am Leave from Shire Offices - 3 Important Trees - A Physical Link to Eltham's First Settlers - Toorak Mansion Gates - A Surviving Farm House - An Intact Circa 1900 Main Street - First Settlers - Gold Miners, and Timber-getters - An Early Hotel - A Pioneering Homestead - Changing Eltham Shire - 20th Century - 4 pm Afternoon Tea and Finish Tour Extract from ELTHAM CULTURAL HERITAGE TOUR (Newsletter No. 85, July 1992, by Bettina Woodburn) "On the Arthurs Creek Road is a bridge designed by Monash, which we admired before walking across the little park with a mud-brick and timber shelter, to the Hurst family graveyard. There are two marked graves, one, Henry who was shot by Burke the bushranger and a cairn has a plaque listing others buried here from 1866 onwards. Burke was captured and tied to the wheel of a dray under the eucalypt near the waterhose/standpipe. Close by the kindergarten, at this place are three trees on the National Trust Register, a Canary Island pine, a Canadian cedar and probably a spruce. Radiata pines and a thick bolled peppercorn surround the little cemetery. Continuing along Main Street we notice elm trees planted as a war memorial, then on the left a 1930 timber house, a 1910 store and residence, resplendent with wrought iron trim, a double fronted Hardware Store and cypresses on the back alignment of a new vacant block. On the right side of the street is a less interesting attempt at an 'in character' shop. Further on are more early homes, one tucked away at the rear with two tall palms by the front steps. Another curiosity is a rounded veranda corner and there are more galvanised iron sheds or garages, before a mud-brick Dentist's Surgery. Beyond the round-a-about is St Peters Church, of mud-brick construction shared by Catholic and Anglican parishioners, overlooking the river flood plain. Leaving Hurstbridge on the Kinglake Road, we ate our picnic lunch beside the communication tower and enjoyed views of Melbourne, Yan Yean Reservoir and the distant Dandenongs beyond the spreading suburbs. Next we drove to the North West boundary of the Shire at Masons Falls Road towards Whittlesea. On the way to the North East Boundary we passed St Peters, a yellow wooden Church with a Tudor Archway; built in the early 1920's in the style of the 1860's. From the Healesville-Kinglake road the rolling hills had European aspects, the hedged fields and chestnut trees. Then it was back down the Hurstbridge Road through 'Aussie' bush of towering gums, with bracken and scrubby understorey, the Kinglake National Park, before more open country with deciduous trees planted in line, and a creek lined with willows."Record of the Society's history and activities and highlighting various aspects of the Heritage Study undertaken by David Bick used to create the future heritage overlay for the Shire of Eltham and later Nillumbik Shire.Roll of 35mm colour negative film, 4 stripsKodak Gold 100 5095shire of eltham historical society, activities, heritage tour, hurstbridge, monash bridge, arthurs creek road -
Kew Historical Society Inc
Archive (Sub-series) - Subject File, Carnsworth (Cameron Court), 1958
Various partiesReference, Research, InformationSecondary Values (KHS Imposed Order)Subject file relating to the house Carnsworth (later renamed Slomcek House) built for Jabez Louis CARNEGIE in 1907-8. In the file, a National Trust (Victoria) citation identifies its date of construction, the original extent of the landholding and style of the house, and comparative examples. The Trust registered the house in 1991. carnsworth - stawell street - kew (vic), jabez lewis carnegiecarnsworth - stawell street - kew (vic), jabez lewis carnegie -
Robin Boyd Foundation
Document - Manuscript, Robin Boyd, Architecture in Melbourne
This summaries the key points of the recently held National Architectural Convention, the first of its kind to be held in Australia, which brought many visiting architects.Typewritten, foolscap, 3 pagesSeveral small ink correctionsarchitecture melbourne; national architecture convention; century of architecture; building industry productivity; city plan for melbourne; australian style; school of architecture melbourne university; international students, robin boyd, manuscript -
8th/13th Victorian Mounted Rifles Regimental Collection
Uniform - 8/13 VMR uniform, 1978 circa
This uniform was worn by Lieutenant Colonel D J Hunter OAM RFD when serving with the 8th/13th Victorian Mounted Rifles. Lt Col Hunter joined 8/13 VMR from 20th National Service Training Battalion in 1956 and served with the regiment till 1967, and again 1977-1980. 8/13 VMR was raised as part of the Citizen Military Forces in May 1948 and was linked with 4th/19th Prince of Wales's Light Horse in October 1990 as part of an Army reorganisation.This uniform is well provenanced, complete and in good condition, and is representative of the uniform worn by an officer of the 8th/13th Victorian Mounted Rifles, a regiment with lineage dating from 1885, but no longer an active regiment in the Australian Army.Khaki wool fabric battledress style jacket with embroidered badges of rank and shoulder titles, yellow cord lanyard, and ribbon bar denoting Australian Active Service Medal, Vietnam Logistic and Support Medal, Australian Service Medal 1945-75, Reserve Forces Decoration and Commemoration of National Service Medal.victorian mounted rifles, uniform -
Vision Australia
Administrative record (Series), National Information Library Service annual reports, 2002-2004
NILS, 454 Glenferrie Road, Kooyong, Victoria, 3144To provide information on general information on work undertaken, financial position, income and cash flow.Single volumes created annually from 2002 until 2004.Chairman's message, CEO message, Finance Report, General Overview of Services.corporation records, national information library servicecorporation records, national information library service -
National Communication Museum
Memorabilia - Honour board, Roll of Honour 1914 - 1918, 1920
This honour board commemorates Victorian Postmaster General's Department workers who served in the First World War. A total of 3,726 employees of the Postmaster General's Department enlisted in the Australian Imperial Force during the First World War. This represented about one in every five of the total number of men employed by the Department. Many other employees volunteered, but were rejected for health or other reasons, whilst men in key positions could not be spared. This board was displayed at the Spirit of ANZAC Centenary Experience, Melbourne, in February 2016.This honour board was produced by the Postmaster-General's Department and passed through its successor entities until donation to the National Communications Museum in 2018. Its provenance is further supported by the supplementary photograph (VH256) held by the Museum which shows the board in production. The board provides a comprehensive list of the names of Postmaster-General staff across various departments, constituting an important resource for genealogical or social history researchers and a focal point for remembrance by fellow communications workers. The style of the board itself is rare, as it was an unusual practice for honour boards to be hand-lettered on paper.Handpainted paper on linen honour board, perspex glazed with a wooden frame."POSTMASTER GENERAL'S DEPARTMENT / VICTORIA" "ROLL OF HONOR / 1914 1918" "FOR / GOD / KING / AND / EMPIRE"|Headings that precede list of names: "CORRESPONDENCE / BRANCH" "CENTRAL EXCHE" "SUBURBAN AND COUNTRY / POST OFFICES" "TELEGRAPH / BRANCH" "ELECTRICAL ENGINEER'S BCH" "MAIL / BRANCH"pmg, postmaster general's department (pmg), world war 1, ww1, postal workers, honour boards, first world war -
National Communication Museum
Vehicle - Van, Volkswagen, 1972
This van was used in Western Australia by linesmen and for mail pickup between 1972 and 1991. When transferred to the collection, it was the very last surviving vehicle of its type owned by the company. Despite its age, the van is in excellent condition having been reconditioned in 1987.This Volkswagen Transporter, 2nd generation, is commonly known as a kombi van; named as such after the German word Kombinationskraftwagen, meaning multi-purpose vehicle. This van is believed to have been used by linesmen and for mail collection from 1972 to 1991 in Western Australia, before being donated to the, then, Telstra Collection. Conflicting accounts from John Moynihan, PMG Engineer and author, suggest the van was used by cable jointers from the 1960s. Owing to this unclear use, the van’s historical significance is low though provenance from the Postmaster General’s Department to Telecom, then Telstra, is established. In 1987, the vehicle was extensively reconditioned and some original parts were presumably replaced. It is not, however, in working order or in good condition; the body carries several areas of rust, rubber seals have suffered plasticiser migration, a mirror is missing and there are marks from use. The hand lettered “P.M.G.” inscription is indicative of a Postmaster General fleet vehicle, as is the red colour of the vehicle paint. Though it is in poor condition, the van’s aesthetic style is of some significance. The van is representative of the type of Volkswagen vehicle used by the Postmaster General’s Department and other private businesses and government branches of the era. The vehicle may, therefore, carry social significance for those that lived in this era, where their communication service provider travelled in a Volkswagen van. Indeed, Volkswagen vans were used into the Telecom era, as evidenced by an image (6681153) in the National Archives of Australia collection. While many of these vehicles may exist today, there are few to no examples which survive in museum collections. In 1966, the Post Office (Postmaster General’s Department) had the largest fleet in Australia, totalling nearly 11,000 vehicles (The Canberra Times, 29 September 1966, p. 34). Though in the late 1960s Volkswagen vehicles accounted for just over 500 of these vehicles, with the remainder represented by Ford, General Motors, Chrysler, and others, the multi-purpose nature of the van is significant as a metaphor for the multi-directional services of the Postmaster General’s Department. Archival images show a variety of models and adaptations including roof racks, bull bar and door configurations. Its conflicted history of use may in fact attest to the vehicles variety of application in the duties of the Postmaster General‘s Department.Red Volkswagen Kombi van with stencilled gold lettering on doors. Scratches on bumpers indicate duck-egg blue undercoat. Single sliding door on left side of vehicle body with secondary opening at rear with horizontally divided doors. Mirror missing on right front. Western Australia registration sticker in front windscreen..1: "PMG" .2: "ROYAL" .3-.4 "PMG" .5-.6: "MAIL" .7,.8: "ER" .9: "C OF A / ZEH 622"transport, kombi van, linesman van, postal van, postmaster general’s department -
Surrey Hills Historical Society Collection
Photograph, Norma Bull portrait
Norma Bull in a window of 'Medlow', 1920s Her brother (Ronald) Richard was a keen photographer and is believed to have taken the photographs of the family and in the grounds of 'Medlow'. Norma Catherine Bull (7 September 1906 – September 1980) was an Australian painter, printmaker and etcher best known for the paintings and sketches she made in Britain during World War II. Norma was the daughter of Richard Joseph Bull (1874-1927) and Catherine Grace Perrier (1884-1972). Her father was the Director of Bacteriology at Melbourne University. Richard and Catherine had 2 children. Norma was born in Hawthorn in 1906 and her brother Ronald Richard was born in Surrey Hills in 1912, where in 1911 Richard bought a property at 42 Warrigal Road, Surrey Hills developed by Colonel William Cairncross, known as ‘Willcyrus’ and renamed ‘Medlow’ by the Bulls. As a child, Norma was a high achiever both intellectually and artistically. She was educated at Fintona, where she matriculated as Dux of the School and winner of an exhibition in French. She won a scholarship to attend the University of Melbourne where she studied French, Zoology, Philosophy, English and History, leading to a Bachelor of Arts in 1929. Following this she studied painting and drawing at the National Gallery Art School for seven years. Whilst most of the students of the 1930s were inspired by Modernism, Norma followed more traditional styles and became known for her etchings and realistic depiction of urban scenes. Her work was strongly influenced by the conservative nature of the National Gallery Art School under Bernard Hall, and she remained a traditionalist all her life. In 1938, she was awarded the Sir John Longstaff Scholarship in Fine Art. This enabled her to travel to England to study at the Royal Academy in London. She arrived in April 1939 and after the outbreak of war, she worked as a volunteer at a First Aid Clearing Station and applied to become a war artist. In 1941, she was given a sketching permit by the War Artists Advisory Committee to record bomb damage in the Bristol area. In 1947, an exhibition of her 205 wartime works entitled “Two Hemispheres”, opened at Australia House in London. Many were acquired for major collections in England including the Victoria and Albert Museum, the Imperial War Museum and the Royal Collection. The “Two Hemispheres” exhibition toured Australia in 1948 and for over twelve months she followed Wirth’s Circus around the country, painting aspects of circus life. From then on she lived at Medlow’, From 1960 she was secretary of the Fellowship of Australian Artists. She was a finalist in the Archibald Prize on 2 occasions and is remembered through a biennial Art Prize, ‘The Norma Bull Portraiture Scholarship’ which is administered by The Victorian Artist’s Society. She continued to paint landscapes and seascapes in her traditionalist style. She had holiday homes at Anglesea and Bright. After she died in September 1980, 31 of her works were bequeathed to Bright Art Gallery. A black and white photograph of a lady holding a sun umbrella and sitting in a window frame.miss norma bull, medlow, house names, warrigal road, surrey hills, mr ronald richard bull -
Surrey Hills Historical Society Collection
Book, The National Trust Research Manual: investigating buildings, gardens and cultural landscapes, 1992
This book explains how to use the many documentary sources that are available, such as rate books, directories and titles; how to investigate and restore exteriors; and, how to recognise the main architectural styles.This book explains how to use the many documentary sources that are available, such as rate books, directories and titles; how to investigate and restore exteriors; and, how to recognise the main architectural styles.historic sites, historic buildings, conservation, (ms) celestina sagazio, national trust of australia -
Surrey Hills Historical Society Collection
Photograph, "Aberystwyth" 40 Wandsworth Road, Surrey Hills, 29 January 1998
Built about 1905 in the Federation style with ‘Queen Anne’ influence. An early owner was Lionel Jones, a journalist and later Eustace Coghill of the Coghill family. After other owners the house was sold and in 1998 removed on two semi-trailers believed to be heading for the San Remo area. The name Aberystwyth possibly come from an association with Wales. Although a thriving sea-side town in the summer, the historic town of Aberystwyth is better known as a university town and the centre of learning for Wales, as it is also home to the National Library of Wales and boasts the largest Arts Centre in Wales. The town is huddled between three hills and two beaches.A coloured photograph of a close-up of the verandah fretwork, the roof without the tiles and a chimney.wandsworth road, surrey hills, federation style, queen anne style, mr lionel jones, journalists, mr eustace coghill, aberystwyth, house names -
Kew Historical Society Inc
Photograph, J F C Farquhar, A View in Studley Park Road, 1891
At the beginning of the 1890s, the Kew businessman and Town Councillor, Henry Kellett, commissioned J.F.C. Farquhar to photograph scenes of Kew. These scenes included panoramas as well as pastoral scenes. The resulting set of twelve photographs was assembled in an album, Kew Where We Live, from which customers could select images for purchase.The preamble to the album describes that the photographs used the ‘argentic bromide’ process, now more commonly known as the gelatine silver process. This form of dry plate photography allowed for the negatives to be kept for weeks before processing, hence its value in landscape photography. The resulting images were considered to be finely grained and everlasting. Evidence of the success of Henry Kellett’s venture can be seen today, in that some of the photographs are held in national collections.It is believed that the Kew Historical Society’s copy of the Kellett album is unique and that the photographs in the book were the first copies taken from the original plates. It is the first and most important series of images produced about Kew. The individual images have proved essential in identifying buildings and places of heritage value in the district.This is the earliest known photograph of the exterior of Byram (later Tara Hall). It shows the original red brick fence, its asymmetrical gate and gateposts, with a large terra cotta gargoyle surmounting the higher of the two. The architect, Edward Kilburn designed Byram in the Arts & Crafts style for the industrialist George Ramsden. Construction began in 1888 and was reputed to have lasted three years. The mansion had frontages to Studley Park Road and Stevenson Street, including gardens laid out with great taste, including pleasure grounds, tennis lawn, fruit and flower garden, and paddock. The size of many of the trees in the garden indicate that many survived from the garden of Clifton Villa, the previous single-storeyed house built on the site by the Stevenson brothers. Byram had views to Melbourne and Port Phillip Bay. The house was demolished in 1960, despite opposition from the National Trust (Victoria), and its gardens subdivided into residential allotments.A View in Studley Park Roadkew illustrated, kew where we live, photographic books, henry kellett, byram, tara hall, goathlands -
Kew Historical Society Inc
Book, Flannel Flower Press, The Federation House: a restoration guide, 1986, 2004
160 p. : ill. (some col. ) ; 29 cm.non-fictionarchitecture -- domestic -- australia -- conservation and restoration, interior decoration -- australia -
Melbourne Athenaeum Archives
Theatre Program, Cass & Clothier (Printers), The Sin of Madelon Claudet (film) shown at the Athenaeum Theatre in 1931
With the cover framed, the remaining four pages of the interior of the program remain in the collection. The entertainment commenced with music performed by Rene Breggozzo and Continental String Orchestra, Ballet music from Gounod's Faust and this was followed by a Cinesound Review and a Universal news reel. As usual, in these programs, the entertainment continued with a short movie, Laurel and Hardy in "Beau Hunks" and Wm T Tilden performing in "Volley and Smash". A rendition of the Meditation from Jules Massenet's "Thais" was performed by Rene Bregozzo prior to interval. After interval the main feature "The Sin of Madelon Claudet", starring Helen Hayes and Lewis Stone was shown and the evening concluded with the orchestra playing the national anthem.The program reveals the type of entertainments of people who attended theatres in the 1930s. The classical-style music performed during the evening's movie entertainments tell us that this style of music was very popular throughout the population. The pages of the program have many advertisements for businesses ranging from sewing machines sold by Ward Bros. of North Melbourne (a picture of a treadle machine illustrates the advertisement) to the "Claire" florist of Queens Walk and the shop selling dancing shoes, G.M. Coutie of Elizabeth Street. A theatre program also reveals information about the location where the entertainment is enjoyed.Cover of a program for a film shown at the Athenaeum Theatre September 1931; the image is framed and hangs in Archives room.athenaeum theatre, program, programme, the sin of madelon claudet, helen hayes, lewis stone -
Moorabbin Air Museum
Book (Item) - Book Of Flying
Beaufighter On The Beach Airmanship - 1918 Style The Saga Of The Kookaburra To Identify A Wartime Wreck The Tale Of Two Lightnings