Booklet contains photographs of crafts dating from settlement until 1921 in Victoria.Booklet "Colonial Crafts of Victoria" Lemon background with illustration showing coloured pictures with Victorian Coat of Arms.Early Settlement too 1921crafts victoria, colonial crafts

Colonial Crafts of Victoria. Early settlement to 1921. Examples of early craftwork to make goods for a specific purpose.art, crafts

In 1992 the children from the Bulla Primary School had an excursion to Woodlands Park for a Colonial Day where they were introduced to old crafts and skills. In this photograph the children were painting a shed using lime wash instead of commercially produced paint.The purpose of this school excursion was to introduce the children to day to day living in colonial times in Australia by giving them a hands on experience in a number of crafts and leisure time pursuits.A coloured photograph of five children painting a shed wall under the supervision of an adult. One person is mixing the paint while three others are doing the painting.bulla primary school, woodlands park, school excursions, colonial crafts

It is made from polished fiddleback, Blackwood and sassafras, and studded with ornamental metalwork.This item is aesthetically significant, as it is an example of Arts and Crafts movement, 1880's Hand made Picture Frame, made by Local Korumburra, Carpenter and Builder Mr. Dan Jarvis. As a Builder, this item was made as a hobby item which showed his Excellent skills with minute craftsmanship. It was selected, and featured as item 233, in Murray Walkers catalog, Colonial Crafts of Victoria, published in 1978, for the Exhibition at the National Gallery of Victoria, November 1978 to January 1979.This hand-made picture frame is an example of the Arts and Crafts movement from the 1880's. It was made by Local Korumburra carpenter and builder, Mr. Dan Jarvis. This showed his excellent skills with minute craftsmanship. It was selected in 1978, and featured as item 233 in Murray Walker’s catalogue, Colonial Crafts of Victoria, for the exhibition at the National Gallery of Victoria.

This ship model is of a Colonial Port Jackson schooner, originally designed by the British Admiralty in 1803 as a response to the request of New South Wales' Governor Arthur Phillip. The drafts for the original plans are in Greenwich, UK, in the National Maritime Museum. The model is a Ledition edition, number 2 of 5, modelled by Bill Leonard. The model is rigged and decked in the manner of David McGregor. The flag on model of Port Jackson schooner is that of the British White Ensign which was used as the flag design of the Royal Australian Navy from 1911 - 1967. In 1785 the First Fleet arrived in the new British colony of Port Jackson (now Sydney Harbour) in New South Wales and Arthur Phillip was appointed as the first Governor. The following year Governor Phillip asked the English Royal Navy to provide drafts and materials for two ships for use in the Port Jackson colony for exploring and surveying rivers. The vessels needed a shallow draught and to be made from local cedar timber. He asked for the frames of the schooners to be provided along with shipwrights to assemble them. Many years later, in 1803, Governor Phillip’s request was fulfilled but he had already resigned from his post. The drafts titled ‘Schooner for Port Jackson’ were despatched by the Royal Navy from England to Australia. The original draft is still in the National Maritime Museum in Greenwich, UK. Meanwhile, the NSW Government had already built various other ships before 1803. In 1797 His Majesty’s Dockyard was opened at Port Jackson for building larger vessels. The Royal Navy’s 1803 design of a ‘Schooner for Port Jackson’ has been recognised on the obverse of Australia’s twenty dollar banknote since 1994. A sketch of the schooner is beside the portrait of Mrs Mary Reibey, who arrived as a convict and rose to become a respected and successful owner of a cargo shipping business. Her fleet included the Mercury, a schooner similar to the 1803 design for the Port Jackson schooner. Although the 1803 plans for a ‘Schooner for Port Jackson’ are commonly believed to be used for the first ship built in Australia, no records have been found of any ships being built according to these plans. However, it can be claimed that the plans were the ‘first Royal Navy plans made for a ship for use at Port Jackson, and to be built at Port Jackson, in Australia’. William (Bill) Leonard passed away on March 1st 1995.This ship model is significant for its representation of an early Australian colonial schooner. The 1803 Royal Navy’s plans for the colonial ‘Schooner for Port Jackson, were for the first ship specifically designed by the Royal Navy to be built and used in Port Jackson, for use in exploration and surveying of Australian ports and rivers. The plans are associated with Australia’s colonial settlement in the late 1700s. This ship model is significant for its association with the emblems of Australia’s history on the twenty dollar banknote. The colonial Port Jackson schooner is considered significant to Australian history, and represented on the 1994 twenty dollar banknote and its new version being rolled out in October 2019.Ship model of a colonial Port Jackson Schooner. Two-masted sailing ship displaying the flag named The British White Ensign. Mode of light coloured stained timberl is mounted on brass legs inside a glass case with timber frame and base. Metal engraved plaque states that the model is as designed by The Admiralty in 1803. Model is a number 2 of 5 in a limited edition, made by Bill Leonard.Engraved on metal plaque "PORT JACKSON SCHOONER / As Designed By The Admiralty. 1803"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, ship model port jackson schooner, sailing ship, limited edition model, model maker bill leonard, david mcgregor design, maritime trade, maritime vessel, colonial port jackson schooner, pacific island trade in early 1800s, sydney cove, governor arthur phillip, governor philip gidley king, a schooner for port jackson, national maritime museum greenwich, australian $20 banknote

In 1909, assistant Chaplain Rev. Haire presented the Mission with an 'uncommonly artistic pulpit' in memory of his mother. A plaque in memory of Jane King Haire can be found on the side next to the steps. The dedication was performed by the Archbishop of Melbourne on the 26th January (date engraves on the plaque) This pulpit was designed by Melbourne architect Rodney Howard Alsop (1881-1932) and manufactured by William John Dalziel (furniture manufacturer). It was initially used in the first Mission in Central Melbourne, Siddeley St. It is located in the Chapel of Saint Peter of the Mission to Seafarers 717 Flinders St. complex since 1917 (State Heritage listed (H1496). This complex was designed by Walter Richmond Butler in 1916, and officially opened on 11 September 1917, a day '...of unusually kind weather', by the Governor of Victoria, the Honourable Sir Arthur Stanley. According to a later article published in 1950: The pulpit is a model, built to scale, of the stern of an old ship of the line in Lord Nelson's day. This pulpit is significant as it is housed in The Memorial Chapel of Saint Peter forming part of the State Heritage listed Mission to Seafarers Victoria complex. It was built in Melbourne of Australian timbers, and is one of only two known maritime inspired pulpits, both associated with Missions to Seamen of the early 20th C. the other is held in the ANMM Collection see link. Their statement of significance is worth quoting in part as it applies equally to this pulpit "...an extremely rare and unique example of such pulpits. It is highly significant as a wonderfully preserved example of a time when religion was preached to sailors for their spiritual guidance and temperance..." Rodney Howard Alsop was an important Melbourne architect of the Arts and Crafts movement. John William Dalziel had sailed from Liverpool to Melbourne in 1862. Seventeen years later Penman and Dalziel founded the business in Lonsdale Street West, and won recognition at the Indian and Colonial Exhibition in London in 1886. Penman and Dalziel were identified in 1937 as one of Melbourne’s early ‘skilled craftsmen’ and ‘leading names’ in the manufacture of fine furniture. He died in February 1918 in a railway accident.Timber pulpit built in the form of a ship's stern including a timber step ladder for access, a timber keel and rudder, a rope fixed from the pulpit to a post mounted to the floor, and a dedication plaque on the side of the pulpit. The pulpit sits on timber legs. It's likely to be the original rope: traditionally made coir rope with twisted fibres, covered with canvas supported by a thread. At lower end the rope is secured by a monkey fist know and at the top by a turk head knot.Inside the pulpit (right) is the cardboard label with the maker details: " On an attached plaque see 0678 To the greater glory of God and in ever loving memory of Jane King Haire. This pulpit is erected by her son. Blessed are the pure in heart. For they shall see God. St. Matt. V.8. 26.1.09mission, seafarers, melbourne, victoria, chapel, saint peter, pulpit, australian timber, stern, walter richmond butler, australian maritime history, reverend w.f. haire, rodney howard alsop (1881-1932), wright's lane, william john dalziel, gifts-1917, heritage listed

These pillow cases are are 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. The Giles family collection is of social significance at a local level, because it not only illustrates the level of material support the Warrnambool community gave to Flagstaff Hill during it’s establishment. But the Giles collection also gives us today a snapshot into what domestic life was like in early colonial times prior to Federation.Pillow Cases (2), white, with hand knitted lace border. (Giles Collection)Nonewarrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, manchester, pillowcases, hand crafted pillowcases, bed linen, giles collection, henry giles, tower hill, warrnambool breakwater, mailor’s flat, wangoom, 19th century household goods, textiles

This crocheted bedspread was used by Dr. and Mrs. Angus in their home in "Birchwood" Warrnambool. It was donated to Flagstaff Hill Maritime Village by the family of Doctor William Roy Angus, Surgeon and Oculist. It is part of the "W.R. Angus Collection" that includes historical medical equipment, surgical instruments, and material once belonging to Dr. Edward Ryan and Dr. Thomas Francis Ryan, (both of Nhill, Victoria) as well as Dr. Angus's belongings. The Collection's history spans the medical practices of the two Doctors Ryan, from 1885-1926 plus that of Dr. Angus, up until 1969. WR Angus Collection: Doctor William Roy Angus qualified as a doctor from Adelaide University in 1923. Dr. Angus was born in Murrumbeena, Victoria in 1901 until he died in 1970. He qualified as a doctor in 1923 at the University of Adelaide and was a Resident Medical Officer at the Royal Adelaide Hospital in 1924 and for a period house surgeon to Sir Henry Simpson Newland. Dr. Angus was also briefly an Assistant to Dr. Riddell of Kapunda SA, then commenced private practice at Curramulka, Yorke Peninsula, SA, where he was a physician, surgeon, and chemist. In 1926, he was appointed as new Medical Assistant to Dr. Thomas Francis Ryan (T.F. Ryan), in Nhill, Victoria, where his experiences included radiology and pharmacy. In 1927 he was Acting House Surgeon in Dr. Tom Ryan's absence. Dr. Angus had become engaged to Gladys Forsyth and it was decided he would take time to further his studies overseas in the UK. in 1927 He studied at London University College Hospital and at Edinburgh Royal Infirmary and in 1928, was awarded FRCS (Fellow from the Royal College of Surgeons), Edinburgh. He worked his passage back to Australia as a Ship's Surgeon on the Australian Commonwealth Line's T.S.S. Largs Bay. Dr. Angus married Gladys in 1929, in Ballarat and had one son Graham born in 1932, and two daughters (Helen and Bernice, both were born at Mira, Nhill SA Dr. Angus was a 'flying doctor' for the A.I.M. (Australian Inland Ministry) Aerial Medical Service in 1928. The Organisation began in South Australia through the Presbyterian Church that year, with its first station being in the remote town of Oodnadatta, where Dr. Angus was stationed. He was locum there on North-South Railway at 21 Mile Camp taking up the position of 'flying doctor' in response to a call from Dr. John Flynn; the Organisation later became known as the Flying Doctor Service. Between 1928-1932 he was a surgeon at the Curramulka Hospital, Yorke Peninsula, South Australia but in1933 he returned to Nhill where he'd previously worked as a Medical Assistant and purchased a share of the Nelson Street practice and Mira hospital from Dr. Les Middleton the current owners of what was once Dr. Tom Ryan's practice. When Dr. Angus bought into the Nelson Street premises in Nhill he was also appointed as the Nhill Hospital's Honorary House Surgeon 1933-1938. His practitioner's plate from his Nhill surgery states "Hours Daily, except Tuesdays, Fridays and Saturday afternoons, 9-10 am, 2-4 pm, 7-8 pm. Sundays by appointment". This plate is now mounted on the doorway to the Port Medical Office at Flagstaff Hill Maritime Village, Warrnambool. Dr. Edward Ryan and Dr. Tom Ryan had an extensive collection of historical medical equipment and materials spanning 1884-1926 and when Dr. Angus took up practice in their old premises he obtained this collection, a large part of which is now on display at the Port Medical Office at Flagstaff Hill Maritime Village in Warrnambool. During his time in Nhill, Dr. Angus was involved in the merging of the Mira Hospital and Nhill Public Hospital into one public hospital and the property titles passed on to Nhill Hospital in 1939. In 1939 Dr. Angus and his family moved to Warrnambool where he purchased "Birchwood," the 1852 home and medical practice of Dr. John Hunter Henderson, at 214 Koroit Street. (This property was sold in1965 to the State Government and is now the site of the Warrnambool Police Station.) The Angus family were able to afford gardeners, cooks, and maids with their home becoming a popular place for visiting dignitaries to stay whilst visiting Warrnambool. Dr. Angus had his silkworm farm at home in a Mulberry tree. His young daughter used his centrifuge for spinning the silk. Dr. Angus was appointed on a part-time basis as Port Medical Officer in Warrnambool and held this position until the 1940's when the government no longer required the service of a medical officer he then became Warrnambools last serving Port Medical Officer. Dr. Angus was a member of the Australian Medical Association, for 35 years and surgeon at the Warrnambool Base Hospital from 1939 to 1942, He served as a Surgeon Captain during WWII from 1942 to 1945, in Ballarat, Victoria, and in Bonegilla, N.S.W., he completed his service just before the end of the war as he suffered a heart attack. It was during his convalescence he carved an intricate and 'most artistic' chess set from the material that dentures were made from. He then studied ophthalmology at the Royal Melbourne Eye and Ear Hospital and created cosmetically superior artificial eyes by pioneering using the intrascleral cartilage. Angus received accolades from the Ophthalmological Society of Australasia for this work. He returned to Warrnambool to commence practice as an ophthalmologist, pioneering in artificial eye improvements. He was an Honorary Consultant Ophthalmologist to Warrnambool Base Hospital for 31 years. He represented the Victorian South-West subdivision of the Australian Medical Association as its secretary between 1949 and 1956 and as chairman from 1956 to 1958. In 1968 Dr. Angus was elected member of Spain's Barraquer Institute of Barcelona after his research work in Intrasclearal cartilage grafting, becoming one of the few Australian ophthalmologists to receive this accolade, and in the following year presented his final paper on Living Intrasclearal Cartilage Implants at the Inaugural Meeting of the Australian College of Ophthalmologists in Melbourne. In his personal life, Dr. Angus was a Presbyterian and treated Sunday as a Sabbath, a day of rest. He would visit 3 or 4 country patients on a Sunday, taking his children along 'for the ride' and to visit with him. Sunday evenings he would play the pianola and sing Scottish songs to his family. One of Dr. Angus' patients was Margaret MacKenzie, author of a book on local shipwrecks that she'd seen as an eye witness from the late 1880s in Peterborough, Victoria. In the early 1950's Dr. Angus, painted a picture of a shipwreck for the cover jacket of Margaret's book, Shipwrecks, and More Shipwrecks. Dr. Angus and his wife Gladys were very involved in Warrnambool society with a strong interest in civic affairs. Their interests included organisations such as Red Cross, Rostrum, Warrnambool and District Historical Society (founding members), Wine and Food Society, Steering Committee for Tertiary Education in Warrnambool, Local National Trust, Good Neighbour Council, Housing Commission Advisory Board, United Services Institute, Legion of Ex-Servicemen, Olympic Pool Committee, Food for Britain Organisation, Warrnambool Hospital, Anti-Cancer Council, Boys' Club, Charitable Council, National Fitness Council, and Air Raid Precautions Group. He was also a member of the Steam Preservation Society and derived much pleasure from a steam traction engine on his farm. He had an interest in people and the community He and his wife Gladys were both involved in the creation of Flagstaff Hill, including the layout of the gardens. After his death on 28th March 1970, his family requested his practitioner's plate, medical instruments, and some personal belongings be displayed in the Port Medical Office surgery at Flagstaff Hill Maritime Village, and be called the "W. R. Angus Collection". The W.R. Angus Collection is significant for the social and medical achievement's that Dr. William Roy Angus had accomplished in his lifetime and the collection of equipment that he and his predecessors had used to treat patients give an insight into the working lives of early colonial medical practices in rural Australia. This collection of medical artefacts is on display located at Flagstaff Hill Village and the Port Medical Officers building where Doctor Angus had practice as the last Port Medical Officer for Warrnambool.Crocheted double bedspread, from the W.R. Angus Collection. White cotton, hand crocheted 30 squares joined as patchwork then a border crocheted around edge. Each square is 41cm square.Noneflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, shipwreck coast, great ocean road, hand crafted manchester, crocheted bedspread, patchwork bedspread, household linen, early 20th century bedspread, dr. w r angus

Booknon-fiction500 works of art by 500 Australian women from colonial times to 1955 with images and commentaries on each work prepared by by 200 curators, critics, family member or the artists herself. Includes images of many works which may never have been reproduced. A biographical section comprises concise entries on these artists.colonial art, craft, competitions, portraiture, furniture, sculpture, indigenous art, museology

Wilfred Clarence Busse, born in Chiltern in 1898, His family moved to the region during the gold rush and continued to reside in the area, purchasing land adjacent the Murray River. Busse completed his secondary education at Wesley College in Melbourne then studied law at the University of Melbourne. Busse went on to become a barrister, often in the chambers of Sir Leo Finn Bernard Cussen (1859-1933) a judge of the Supreme Court of Victoria. He worked most of his life in Chiltern as a Barrister and Solicitor and gained the unofficial title of historian of Chiltern, leaving behind several manuscript histories and a scrap book. Busse was an avid fictional writer and in 1930 he published two novels. Time spent on a Victorian station in his early twenties, as well as careful documentary research, informed the writing of his historical novels of bush life. "The Blue Beyond; A Romance of the Early Days in South Eastern Australia” and "The Golden Plague: A Romance of the Early Fifties." "The Golden Plague” won the T. E. Role gold medal for the best historical novel which went on to become a best seller. Busse often drew inspiration for his novels from his younger years living Chiltern. His passion for the region lead him to write “The History of Chiltern” which was published in a serial form in the Chiltern Federal Standard from 1922-1923. Wilfred Clarence Busse was a member of Chiltern Athenaeum (where this object is now held) up until his death in 1960, he is buried in the Barnawartha Cemetery. The leaf shaped motif of this particular spoon appears to be stylised in a simple form of decorative arts and craft or even Art Nouveau style favoured in Europe between 1880-1920 and less representational than examples of Australiana flora captured in silversmithing from the 1850's onwards. According to Christine Erratt, due to the goldrush in the 1850's, there was increased wealth in the colony and an influx of immigrants from Europe to Australia who brought with them silversmithing skills which began ‘the golden age’ of Australian silver', Erratt says that 'Australia's unique flora has been portrayed in the decorative arts since the early colonial times of the last decade of the 18th century. The use of Australian flora to decorate silverware is of particular interest and diversity'. It is likely that those producing silverware at the time would be drawing on the decorative arts movement while incorporating elements of the natural beauty in the flora of their newfound environment into the silverware they produced. There are no discerning maker hallmarks to place where it was produced or ascertain the material accurately.Wilfred Clarence Busse was of social significance to Chiltern, he helped to document the cultural story of the area in his published works "The Golden Plague" and "The Beyond Blue" by recounting his own upbringing in a bush lifestyle. He was a respected Barrister and was the unofficial historian of the Chiltern Athenaeum for many years. This spoon represents a window into the domestic life of this person who was well loved in the area, and it continues its relationship to Busse as well as Chiltern by being held within the very collection he helped to maintain in his life. Domestic objects tell us the story about how people lived, objects of daily use hold particular meaning in that they can tell us the story of an individual, we feel closer to their life and habits, it humanises and connects us across time. A tarnished small silver teaspoon with leaf-shaped head and slim handlesilverware, wilfred clarence busse, busse, chiltern, chiltern athenaeum, federal standard, t. e. role, "the blue beyond, a romance of the early days in south eastern australia”, "the golden plague: a romance of the early fifties.", "the golden plague”, wesley college, university of melbourne, sir leo finn bernard cussen, supreme court of victoria, gold rush, murray river, “the history of chiltern”, silversmithing, spoon, decorative arts, floral, flora, australiana, australian flora, arts and craft movement, australian silver, cussen

Demonstrating cutting edge maritime military technology, the Cerberus patrolled the waters in and around Melbourne, protecting it and its rich gold resources from attack. The Victorian gold rush coincided with growing instability in Europe. Britain and Russia prepared to face each other in battle as the threat of a second Crimean War grew.The HMVS Cerberus was one of only three vessels of its exact type ever built, and is the only surviving example of this type of vessel in the world. It is also the only substantially intact warship of Australia’s pre-Federation colonial navies. This shipwreck rests in shallow waters at Black Rock, Melbourne.HAnd built timber model of the HMVS CerberusCerberushmvs cerberus, model making

Photo - Bertha Leviny (seated centre) with five of her daughters L-R: Gertrude, Hilda, Mary (standing), Dorothy and Kate. Her grandson James Leviny is at Bertha's knee. The pet dog is an Australian terrier. Bertha was the wife of noted colonial silversmith and jeweller, Ernest Leviny. Together, they raised a family of ten children in their home Buda, Castlemaine. The five unmarried daughters pursued their interests in various creative pastimes linked with the Arts and Crafts Movement of the late nineteenth and early twentieth centuries.One of the few photographs of Bertha Leviny and her daughters taken together after the death of Bertha's husband, Ernest, a prominent Australian silversmith. The Leviny daughters were artistic in their own right, following the principles of the Arts and Crafts Movement. Three of the daughters entered works in the 1907 Exhibition of Women's Work held at the Exhibition Buildings, Melbourne.Silver gelatin, toned print. Black and white photograph of a group of six women, a child and a dog. The women are seated on and around a garden bench with the tennis pavilion in the background. All are smiling at the dog which is standing on its back legs in the foreground. The little boy's face is blurred from movement during the exposure.Handwritten in ink (verso): "At Buda 1906"bertha leviny, mary leviny, gertrude leviny, hilda leviny, dorothy leviny, kate leviny, james leviny, australian terrier dog, kodak box brownie camera, edwardian costume, buda, 1906, photograph, portrait, leviny women, castlemaine

Original design by Dorothy Leviny, aged 25, while she was a student at the Bendigo School Of Mines under the tutelage of Arthur T. Woodward. Woodward, who had come to Australia from Britain, was a renowned proponent of the Arts and Crafts Movement in Australia during the late nineteenth and early twentieth centuries. Dorothy Leviny, along with two of her sisters, entered a number of items in the First Australian Exhibition of Women's Work, Melbourne, 1907, and was awarded second prize for one of her wallpaper designs. Dorothy Leviny was the ninth child born to noted colonial silversmith and jeweller, Ernest Leviny, and his wife, Bertha (nee Hudson).This original wallpaper design by Dorothy Leviny is one of few that remain in existence from the early twentieth century showing the influence of the British Arts and Crafts Movement in Australia.Original wallpaper design made by (Bertha) Dorothy Leviny painted in watercolour. The repetitive floral design consists of pale pink bell-shaped flowers with green stems and leaves. Paper, card, watercolour paint.'D. Leviny /06'.dorothy leviny, watercolour painting, arts and crafts movement, 1906, buda, castlemaine, arthur t woodward, bendigo school of mines, exhibition of womens work 1907, wallpaper design, illustration

The sewing box was crafted in about 1900 by carpenter, Mr W. SmithThis item has historic and aesthetic significance. It was made in about 1900 by a well-known and colourful Korumburra identity, Mr W. Smith, of polished Fiddleback blackwood. Showing excellent craftmanship, particularly in the joinery, it has functional efficiency and simplicity in design. It was exhibited at the National Gallery of Victoria in 1978-79 and featured in the catalogue of that exhibition as a fine example of colonial craft.