Wanting to improve upon the limitations of existing Braillers, the Perkins School for the Blind resolved to develop a new machine that would produce uniformity in embossing, was lightweight and was easy to use. By the 1940's, David Abrahams (a teacher at the school) had developed his prototype, but manufacturing restrictions created by World War 2 halted proceedings. In the waiting period, students at the school used the prototype and Abrahams perfected his device. During the post-war era, Howe Press agreed to take on production of the Perkins Brailler and it became of the most popular and commonly used Braillers around the world since it's commercial release in 1951. Also included is a booklet of photocopied instructions with honeycomb binding.Metal Braille writer with nine grey keys, carriage return key and paper rollers on either side, with grey vinyl cover, and photocopied instruction booklet.'Perkins Brailler' embossed on front of machine and in silver on cover. Sticker on top of machine reads "This equipment remains the property of Braille and Talking Book Library 31-51 Commercial Road, South Yarra 3141 Phone: (03) 267 6022." Metal plate attached to front below keys "Designed by David Abraham, Manufactured and Distributed by Howe Memorial Press, Perkins School for the Blind, Watertown, Mass. U.S.A." Stamped on base of front: G0345braille equipment, perkins school for the blind

Black and white photograph showing a young child, approximately six years old, using a Perkins Brailler. Possibly taken at the RVIB's Burwood School, where the Perkins Brailler was introduced in 1963.1 black and white photograph of boy using a Perkinsrvib burwood school, braille equipment

Honora Perkins, the daughter of George and Julia Perkins, was accidentally killed when a cart in which she was travelling home from school was overturned near Linton.Statutory declaration, handwritten on pale-blue lined paper, written (presumably by Samuel Lewers) for George Perkins, who could not read or write. Asserts that George Perkins has insufficient money to pay for the burial of his child Honora Perkins, who was accidentally killed on November 30th, 1868. Document is signed:"George Perkins his mark" (next to a small cross). "Witness S. Lewers". "Dated at Linton 1st December 1868 " and signed "S. Lewers, JP".george perkins, julia perkins, honora perkins, linton cemetery, funerals, statutory declarations

A stable brand can be seen on the horse. Mr Perkins was shoeing the horse at stables at the rear of Creswick Road.w.j. perkins, creswick road, ballarat, horses, farrier

Amelia Perkins and 2 unknown men stand in front of the new twisted wire fence at 318 Creswick Road.amelia perkins, creswick road, ballarat, building, gardens, private dwelling, residence

Jeanette Perkins was born in 1927 at Ballarat. She attended Alfredton State School and Pleasant Street State School before completing her secondary schooling at Ballarat High School (BHS). During her later years at BHS Perkins decided that she wanted to become a geologist, but was ineligible for university when she failed Leaving Certificate maths. She attended an interview with the principal (Heseltine) at the Ballarat School of Mines (SMB) and announced that she wanted to be a geologist. Heseltine was, according to Perkins, aghast: he informed her that there had never been a female geologist at SMB and they didn't want one. But Perkins persisted. Only then did Heseltine reluctantly enrol her in the School's Applied Chemistry Course which offered the most geological subjects, moreover, it was the only one he considered available to a 'mere' female. After graduating Perkins was employed as a metallurgical chemist with M.B. Johns Valves, Ballarat. In 1949 she married Alfred Watson. In 1951 Jeanette and Alf Watson moved to Melbourne where she commenced work as a metallurgical chemist at the Maribyrnong Ordnance Factory while studying geology part time: Alf returned to study at the University of Melbourne. Once again, Watson set a precedent by becoming the first female student to study geology part-time at the Melbourne Technical College. Increasing demands brought about by her growing family, she turned to part-time lecturing second and third year stratigraphy and palaeontology at RMIT. In 1957 the Watsons moved to the Mary Kathleen Uranium Mine in NW Queensland where he was appointed electrical design engineer. After their return to Melbourne in 1960, Jeanette taught herself to SCUBA dive and quickly developed a passion for the sport and the marine environment. She taught senior science to secondary students for 10 years whilst working towards a Masters degree. In 1991 Jeanette Watson was awarded a Doctorate from Deakin University.women of note, ballarat school of mines, alfredton state school, pleasant street state school, ballarat high school, leaving certificate maths, interview with principal, heseltine, geologist, applied chemistry course, no female geologists, metallurgical chemist, married 1949, melbourne, ordinance factory, part time study, melbourne technical college, rmit, part time lecturer, scuba diving, science teacher for ten years, masters degree, doctorate, deakin university

Frank Wright was a renown resident of Smeaton, where he was born on 2 August 1901. He lived at Laura Villa, and attended Smeaton State School. His father William was a gold miner and his mother's name was Sarah. Their family won many singing and instrumental awards. Frank was tutored by Percy Code and was awarded a gold medal for the highest marks in the ALCM examinations in the British Colonies at the age of seventeen years. He became the Australian Open Cornet Champion by the age of eighteen. A year later, Frank conducted the City of Ballarat Band, and later the Ballarat Soldiers’ Memorial Band. He formed the Frank Wright Frisco Band and Frank Wright and his Coliseum Orchestra. These bands won many South Street awards, and Frank as conductor won many awards in the Australian Band Championship contest. In 1933 Frank Wright sailed to England to conduct the famous St Hilda’s Band and was later appointed Musical Director of the London County Council, where he organized many amazing concerts in parks, in and around the London district. He was made Professor of Brass and Military Band Scoring and conducted at the Guildhall of Music and Drama. Frank was often invited to adjudicate Brass Band Championships around Europe, in Australia, including South Street and in New Zealand. The Frank Wright Medal at the Royal South Street competition is awarded to an individual recognized as making an outstanding contribution to brass music in Australia.Black and white photograph of a man wearing a hat and a dark suit with white piping around the edges of the jacket. He is leaning against the post and rail fence of a pier. The man is Frank Wright and the place is Cleveland on the bay near Brisbane.Written in pen on the back - Frank Wright (21) on Cleveland pier near Brisbane, Q, Easter 1923, Taken by H Perkinsfrank wright, cleveland pier, h perkins

The Otways Quilt is believed to have originated with the Perkins family, landholders in the Beech Forest area. Some of the names or initials on the quilt have been tentatively identified with other farmimg families in the same district.A rectangular quilt hand embroidered in white on 20 square panels, with the names or initlals of settlers in the Otway district, and surrounded with an edging of floral embroidery. It is made of polished cotton backed with cotton sheeting.quilt, beech forest, otway, needlework, perkins

Mr Perkins joined the police force in his early twenties and apart from an 18-month posting in Melbourne, spent the rest of his career serving communities in country Victoria. He was a keen fisherman and hunter- his first love was sitting on the banks of the Murray River with a fishing rod in his hand. Family camping trips were spent by the river where everyone slept on stretchers with several army blankets underneath and a wheat bag wagga on top. The green colour of this wagga is from "Dekkol" a preservative which Mr Perkins used to protect his cotton fishing nets from rotting.Quilt made of two standard size jute wheat bags (a bushel = 150lbs) split and hand bound along seams.It is an example of the basic type of wagga made by shearers, farmers or swagmen. The green colour results from the application of "Dekkol" a preservative used for cotton fishing nets.quilting history, running stitch group, running stitch collection, highlights of the national wool museum: from waggas to the wool quilt prize - exhibition (22/09/2001 - 02/12/2001), perkins, mr percy, quilting - history

This exchange note was issued by the Bank of Australasia to Mr N A Coleman for one hundred pounds paid n 14th October 1847 at the Sydney branch. The interest rate was three per cent. This exchange note displays the insignia of the Bank of Australasia, which was incorporated by Royal Charter of England in March 1834. The bank began in Australia on 14th December 1835, opening in Sydney. The Acting Superintendent of the bank at that time was David Charters McArthur. He was Superintendent from 1867-to 1876. The Melbourne branch opened on 28th August 1838 in a two-roomed brick cottage on the north side of Little Collins Street, where two huge mastiff dogs were used at night to guard the bank. The government also provided an armed military sentinel. Due to the bank's rapid growth, a new building for the Melbourne branch was opened in 1840 at 75 Collins Street West. By 1879 the bank had been upgraded to a magnificent two-storey building on the corners of Collins and Queens Streets, with the entry on Collins Street. In 1951 the Bank of Australasia amalgamated with the Union Bank to form the Australia and New Zealand Bank, now known as the ANZ. Then in 1970, the ANZ merged with both the ES&A and the London Bank of Australia to form the ANZ Banking Group Limited. The ANZ Banking Group Ltd kindly donated a variety of historic items from the Bank of Australasia. BANK of AUSTRALASIA, WARRNAMBOOL – In 1854 Warrnambool had two banks, the Union Bank and the Bank of Australasia. Later, completely different bank businesses opened; in 1867 the National Bank of Australasia, then in 1875 the Colonial Bank of Australasia. The original Warrnambool branch of the Bank of Australasia was established in July 1854, and operated from a leased cottage on Merri Street, close to Liebig Street. The bank next bought a stone building previously erected by drapers Cramond & Dickson on the corner of Timor and Gibson Streets. Samuel Hannaford was a teller and then Manager at the Warrnambool branch from 1855 to 1856 and the Warrnambool Council chose that bank for its dealings during 1856-57. In 1859 Roberts & Co. was awarded the contract to build the new Bank of Australasia branch for the sum of £3,000. The land was on a sand hill on the northeast corner of Timor and Kepler Streets and had been bought in 1855 from investor James Cust. The new building opened on May 21, 1860. The bank continued to operate there until 1951 when it merged with the Union Bank to form the ANZ Bank, which continued operating from its Liebig Street building. Warrnambool City Council purchased the former Bank of Australasia building in 1971 and renovated it, then on 3rd December 1973 it was officially opened as the Art Gallery by Cr. Harold Stephenson and Gallery Director John Welsh. The Gallery transferred to the purpose-built building in Liebig Street in 1986 and the old bank building is now the Gallery club. Staff at the Bank of Australasia in Warrnambool included the following men but others were also involved: Samuel Hannaford, Teller then Manager from 1855-1856; W H Palmer, Manager from January 1857 until November 1869 when the Teller Basil Spence was promoted to Manager; H B Chomley, Manager from April 1873 and still there in 1886; A Butt, Manager in 1895-1904; J R McCleary Accountant and Acting Manager for 12 months, until 1900; A Kirk, Manager 1904; J Moore, staff until his transfer to Bendigo in December 1908; J S Bath was Manager until 1915; C C Cox, Manager until April 1923; Richard C Stanley, Manager 1923 to April 1928. The bank exchange note has significance through its association with the Bank of Australasia. The early Australian bank was established in 1834 by Royal Charter and opened in Sydney, Australia, in Sydney in 1835. The bank had many Australian offices in November 1877, particularly on the east and south coasts. Victoria had 45 percent of all Offices. The object is locally significant for its association with the Warrnambool Bank of Australasia, which was established in 1854. It was Warrnambool Council’s first bank. The bank continued to operate until the organisation's merger in 1951 when it became the ANZ Bank Group today. The Bank was an integral part of the growth of local commerce and the community.Bank exchange note for the Bank of Australasia, Sydney, manufactured by Perkins, Bacon and Perch, printed in brown. Insignia depicts a heraldic shield with a lion and unicorn on either side and another insignia with "B of A". Exchange note paid on 14th October 1847. Issued for one hundred pounds and paid to Mr N A Coleman.. Inscriptions include the document number, the date, the amount paid, the receiving person, signatures and a stamp with the interest rate.Handwritten number "15101" "One hundred pounds" "14th October [18] 47" "Mr N A Coleman" Black stamp "ISSUED AT 3 PR CENT PREMIUM" Signatures of [Manager] and [Accountant].flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, banknote, currency, exchange note, commerce, banking, finances, bank of australasia, n a coleman, 1847, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, boa, union bank, australia & new zealand bank, anz bank, david charters mcarthur, d c mcarthur, sydney, new south wales, legal tender

Mr Perkins joined the police force in his early twenties and apart from an 18-month posting in Melbourne, spent the rest of his career serving communities in country Victoria. He was a keen fisherman and hunter- his first love was sitting on the banks of the Murray River with a fishing rod in his hand. Family camping trips were spent by the river where everyone slept on stretchers with several army blankets underneath and a wheat bag wagga on top. This wagga is made from two standard sized jute wheat bags split and hand bound along the seams. It is typical of a basic wagga made by shearers, farmers and swagmen. The paint stains on this wagga display signs of later use as a painting drop sheet by descendants who inherited the quilt. Quilt made of two standard size jute wheat bags (a bushel = 150lbs) split and hand bound along seams. It is an example of the basic type of wagga made by shearers, farmers or swagmen. Another use for the wagga was as a 'drop sheet' when doing house painting- possibly explaining the paint stains on the wagga.quilting history, running stitch group, running stitch collection, highlights of the national wool museum: from waggas to the wool quilt prize - exhibition (22/09/2001 - 02/12/2001), perkins, mr percy, quilting - history

Item belonged to donor's grandfather who had the local jewellery shop in Mitcham.Two boxes and four envelopes which would contain repairs of jewellery or watches advertising Perkins and Vague local watchmakers; also a match booklet. .8 2nd booklet of matchesPerkins and Vaguecommerce, advertising

Hetti Perkins introduces this collection of reproductions of of Western Arnhem Land bark paintings, rock art, woven fibre art and wooden sculpture that was exhibited by the Art Gallery of NSW in 2004, emphasising the cultural foundations of the Kuninjku artists, their beliefs, artistic conventions and innovations. The book includes interviews with traditional rock and bark artists (including some language), and essays describing the connection of the people to the land, their spiritual beliefs and their art. There are also reproductions of works on paper and woven forms and an essay on the role of women in producing these art forms. An essay by Professor Jon Altmann is entitled "Brokering Kuninjku Art: Artists, Institutions and the Market. A chronolgy details the history of aboriginal art in the area, there are biographies of the artists whose works were included in the exhibition, a list of the works themselves, a glossary of place names, art terms, aboriginal, linguistic and anthropological terms, and a select bibliography. The list of contributors includes, as well as the two mentioned above, Dr Murray Garde, Apolline Kohen, Steven Miller, Cara Pinchbeck and Dr Luke Taylor.Colour photographs

In October 1982 the Australian Transsexual Association (ATA), supported by the Gay Solidarity Group (GSG), staged the first transgender protest in Australia. The protest was held to challenge a recent judgement against two transgender women, who a Magistrate ruled were men. In response NSW Attorney-General said that ‘Attorneys-General of the six states had committed to new legislation to recognise the validity of sex changes’.transsexual, transgender

xix, 453 p., 1 folded leaf, [8] p. of plates : ill. (some col.), ports. (some col.) ; 25 cm.non-fictionThe stories of the acheivements, friends and adversaries, changing roles and expectations, imagery and daily life of each of the Colonial Governors of Victoria starting with La Trobe in 1839 to 1854 and ending up with Lord Brassey who held the position from 1895 to 1900.governors -- victoria -- biography, victoria -- politics and government -- 1834-1900

Jordie Howell and another woman surrounded by Perkins braillers. Most likely taken at the Braille repair room in Kensington, facing Macaulay Road.9 digital images of staff member Jordie Howell and Perkins braillersvision australia, staff, jordie howell

This Worcestershire Sauce bottle was made by Lee & Perkins. It was hand blown into a two-piece mould, snapped off the blowing rod and then had a separate mouth applied to the neck, as evidenced by the side seams, ripples in the body, join below the mouth, bubbles in the glass and a push-up base that is uneven in thickness. The Loch Ard got its name from ”Loch Ard” a loch that lies to the west of Aberfoyle, and the east of Loch Lomond. It means "high lake" in Scottish Gaelic. The vessel belonged to the famous Loch Line which sailed many vessels from England to Australia. The Loch Ard was built in Glasgow by Barclay, Curdle and Co. in 1873, the vessel was a three-masted square-rigged iron sailing ship that measured 79.87 meters in length, 11.58 m in width, and 7 m in depth with a gross tonnage of 1693 tons with a mainmast that measured a massive 45.7 m in height. Loch Ard made three trips to Australia and one trip to Calcutta before its fateful voyage. Loch Ard left England on March 2, 1878, under the command of 29-year-old Captain Gibbs, who was newly married. The ship was bound for Melbourne with a crew of 37, plus 17 passengers. The general cargo reflected the affluence of Melbourne at the time. Onboard were straw hats, umbrellas, perfumes, clay pipes, pianos, clocks, confectionery, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were other items included that were intended for display in the Melbourne International Exhibition of 1880. The voyage to Port Phillip was long but uneventful. Then at 3 am on June 1, 1878, Captain Gibbs was expecting to see land. But the Loch Ard was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4 am the fog lifted and a lookout aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head-on into the wind, the ship lost momentum, the sails fell limp and Loch Ard's bow swung back towards land. Gibbs then ordered the anchors to be released in an attempt to hold their position. The anchors sank some 50 fathoms - but did not hold. By this time the ship was among the breakers and the tall cliffs of Mutton Bird Island rose behind. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves subsequently broke over the ship and the top deck became loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of Loch Ard and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as Loch Ard Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael a passenger had raced onto the deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke the open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a complete state of exhaustion, he told the men of the tragedy. Tom then returned to the gorge while the two men rode back to the station to get help. By the time they reached Loch Ard Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost her family in the tragedy. Ten days after the Loch Ard tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of Loch Ard still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some items were washed up into Loch Ard Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced in March 1982. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton majolica peacock- one of only nine in the world. The peacock was destined for the Melbourne 1880 International Exhibition. It had been well packed, which gave it adequate protection during the violent storm. Today the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck, it has now become Australia's most valuable shipwreck artifact and is one of very few 'objects' on the Victorian State Heritage Register. The shipwreck of the Loch Ard is of significance for Victoria and is registered on the Victorian Heritage Register ( S 417). Flagstaff Hill has a varied collection of artefacts from Loch Ard and its collection is significant for being one of the largest accumulation of artefacts from this notable Victorian shipwreck. The collections object is to also give us a snapshot into history so we can interpret the story of this tragic event. The collection is also archaeologically significant as it represents aspects of Victoria's shipping history that allows us to interpret Victoria's social and historical themes of the time. The collections historically significance is that it is associated unfortunately with the worst and best-known shipwreck in Victoria's history.Clear glass bottle with a green tinge. The bottle has an applied mouth, seams from base to mouth, bubbles and impurities in the glass, and uneven glass thickness. Vertical and horizontal inscriptions are raised. The bottle once contained Worcestershire Sauce and was made by Lea and Perkins. Vertical; "LEA & PERKINS" and around shoulder "WORCESTERSHIRE SAUCE" flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, sauce bottle, worcestershire sauce, shipwreck artefact, condiment bottle, loch ard artifacts, lea and perkins

Bib, ill, p.63.non-fictionPictorial and textual description of the Mustang fighter planeunited states - fighter planes, p-51 mustang

"A landmark history of Indigenous Australia which accompanies a major nine part Australian television series. It combines the most rigorous academic research with capitvating contemporary story-telling. Richly illustrated book that includes images of the landscape, evocative ninteenth-century photography and Aboriginal art. Written by Australia's leading Indigenous historian and public intellectuals"--Provided by publisher.maps, document reproductions, b&w illustrations, colour illustrations, colour photographs, b&w photographscolonisation, race relations, australian aboriginal history, pictorial histories

Seven leading Australian historians reveal the true stories of individuals - black and white - caught in an epic drama of friendship, revenge, loss and victory in Australia's most transformative period between 1788, when Governor Phillip met Bennelong, and 1993, after Koiko Mabo's legal challenge was decided.aboriginal australians. aboriginal australians -- history -- pictorial works. aboriginal australians, treatment of. aboriginal australians -- history. australia. australia -- history.