Showing 23 items matching pork
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National Vietnam Veterans Museum (NVVM)
Functional Object, Can of pork and beans
Stainless steel, no label, some printed letteringpork - beans. net weight 105 gmscan, pork and beans -
Mentone Grammar School
How do you do, gentlemen! Mentone boys wearing the Pork Pie felt trilbies of the 1940s
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Cheese World Museum
Thermometer, meat, 1911
This thermometer came from the Orr family at Addington. Archibald Orr, father and son, were butchers as well as farmers. B Heller & Co was founded in 1896 in Chicago and was well known for its sausage making and preservatives.The thermometer provides an insight into the manner early butchers processed meat.A cylindrical wooden case containing a bulb thermometer with markings for boiling various meats - hams, bacon, corned beef and pickled pork. The bulb at the contains balls of mercury.Certified correct/ tested in our laboratory/ Guaranteed accurate/ B HELLER & Co of Chicago USA/ reprints forbidden/ Copyright 1911.allansford, butchery, meat cooking, heller & co, thermometers -
Ballarat and District Irish Association
Image, Joseph Gilles Biggar, M.P., c1864
Joseph Gillies Biggar was a Belfast pork merchant. The Protestant faith has given more leaders to the Irish rebels than the Catholic faith, such as Grattan, Davies, Butt, Mitchell, Parnell, Shaw, Biggar, etc., and all, without exception, were Protestants.(http://www.marxists.org/archive/connolly/1911/connwalk/2-rebirel.htm) "Looking through the long list of those who were present at the Home Rule Conference, one may see the names of men, young or obscure, who were to achieve fame in the movement, and, in some cases, to exercise a decisive influence on its development. The earliest that springs to the eye is " Joseph Gillies Biggar." It was the first time that that misshapened form, with its homely face, its broad smile, its shrewd and fearless glance, was seen ; and the rasping voice, and odd and jerky mode of speaking, was heard, at a nationalist gathering. Biggar was then forty-six, a Presbyterian, head of a successful firm of provision merchants in Belfast, a member of the Municipal Corporation of Belfast, and chairman of the Water Commissioners; and was to commence soon his extraordinary career in the House of Commons. (http://archive.org/stream/homerulemovement00macduoft/homerulemovement00macduoft_djvu.txt) Portrait of a man wearing a glasses. He is Joseph Gilles Biggarballarat irish, biggar, joseph biggar, joseph gillies biggar, pork, belfast -
Kiewa Valley Historical Society
Metal Meat Hook
Used to hang up meat or the carcasses of animals such as pigs and cattle.See KVHS 1511Used by farmers and butchers in the Kiewa Valley.An S-shaped steel hook.meat hook, butcher, beef, pork -
Bendigo Military Museum
Accessory - RATION PACK, USA, US DEFENCE FORCE, c1981
Developed in 1981 onwards.This is a sealed plastic container. Inside is some sort of ration. It is heat sealed both ends. Colour is brown with black printing on one side.In black ink, hardly visible, is "Pork Patty dehydrated". "Accessory pack D - Meal, ready to eat, Individual." Other items hard to read, menu and cooking instructions.us defence force, food pouch -
Greensborough Historical Society
Book - Digital Image, Colonial Mutual Life Assurance Co, Colonial Mutual Life Cookery Book: cuts of meat, 1932_
A page from "Colonial Mutual Life Cookery Book". This page contains cuts of meat - pork and veal - and several curry recipes. An example of 1930s advertising through cookery and homemaker booksAn example of early 20th century advertisingDigital copy of page of a bookrecipe books, historic advertisements, cookery books, colonial mutual life, meat cuts -
Greensborough Historical Society
Book - Digital Image, Australian Army, AACC Handbook No.3: Sample pages, 1945_
Sample pages from "AACC Handbook No.3: Recipes and general hints on preparation of Army rations in SWPA". An example of a war time handbook issued to Australian Military Forces, and has a 'restricted' warning printed on cover. These sample pages include cuts of beef, mutton and pork, and a cross-section of a drum pug oven. An example of a war time 'how-to' book.Digital copy of sample pages from a bookaustralian army, rations, cooking, drum pug oven, meat cuts -
Melbourne Legacy
Document - Menu card, 1998 Legacy National Conference farewell luncheon, 1998
Menu for the luncheon held at "Powerhouse" to mark the end of the 1998 National Conference, with entertainment by 'Anything Goes' musicians, and piper Mr Ian McKenzie. The simplicity of the menu (Veal Parmigiana or Roast Pork, and Blackforest dessert) is in marked contrast with menus from the earlier years of Legacy which featured more courses and items described in French, with matching wines. The menu was probably produced and photocopied in-house rather than sent out for printing. Past President Legatee D.J. Simonson was responsible for the organisation of the entire conference.Part of the significant milestone represented in these proceedings.Buff coloured marbled paper, black printingconference, 75th anniversary -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Painting, Mary Ann Charman 1820 - 1870, c1860
Mary Ann Charman was a pioneer settler in the Cheltenham area of the Parish of Moorabbin c1850 Stephen Charman , who emigrated in 1942 as a Henry Dendy employee aged 21 years, sadly lost his wife and child shortly after arriving in Brighton. When Dendy could not employ him he found other work. In 1850 he met Mary Gettens a widow with 5 children who supported her family by managing her late husband’s Inn in Collins St. Melbourne. Stephen purchased land in Spring Grove, now Cheltenham, in 1852 and the family moved to the wattle and daub hut after their marriage. Mary and Stephen worked very hard to establish a market garden, poultry and pork farm . They specialised in Marigolds which they sold to Martin & Pleasance Pharmacy , Melbourne for medicinal purposes. Mary and Stephen had 7 more children and Mary still managed to find time to sell the pork, poultry and vegetables from a horse drawn cart she drove around St Kilda. 1857 Stephen donated land to the Methodist Church for a School, burial ground and Chapel in Balcombe Road. Mary died 1870. Stephen remarried in 1878 and died aged 85 years 1906. Charman Road runs from Nepean Highway , Cheltenham through Beaumaris to the Beach Road at Mentone. Mr Les Jones was the Great Grandson of Mary Ann CharmanAn oval framed colour painting of the likeness of Mary Ann Charman, 1820 - 1870 pioneer settler in the Cheltenham area of the Parish of Moorabbinpioneers, early settlers, dendy henry, charman mary ann, jones les, cheltenham, moorabbin, brighton, market gardeners, dairy farmers, charman stephen, poultry farms, pork farms, charman road, balcombe road, mentone, beaumaris, st kilda, methodist church, -
Warrnambool and District Historical Society Inc.
Book, Accounts 1898-1902, Early 19th century
This accounts book has been used by a Warrnambool butcher whose name is unknown. The entries date from 1913 to 1915 and the names of those with accounts are mostly well-known residents of Warrnambool at the time. The items bought include hams, shoulders, lard, sides, German sausage, pork sausages, bacon, hocks and bones. The book was found in the old Mackay Taylor law firm building and was obviously in storage with that firm. The owner of the accounts book would have been a client of the law firm. Mackay Taylor was formed in 1893 with the merger of the law firms of George Sutherland Mackay and James Fletcher, a business that was known originally as Fletcher and Mackay and then changed to Mackay and Taylor in the 1920s. The business was at 131 Kepler Street.This accounts book is of some interest as it contains the names of many prominent Warrnambool people and their meat-related purchases in the 1913-1915 time frame. These include the names Battarbee, Ward, Milvertion, Harrington, Murrell, Powell, Younger, Smith and Russell. The lists of items bought show the lifestyles and eating habits of the time with some bulk buying of large pieces of meat, some for hotels etc. This is a small maroon coloured bound book of 173 pages (double-sided). There are pages with alphabetical tabs at the start of the book. Inside the front and back covers are inserts of heavy quality paper with a blue and red design. The entries are written in black ink.On spine – ‘Ledger’warrnambool butcher, warrnambool -
Charlton Golden Grains Museum Inc
Photograph, Turner's Butcher Shop, Hight St Charlton
Part of a Shire streetscape series of photos c. 1987Colour photograph of Turner's Butcher Shop on the corner of Learmonth and High Streets. Sign above the verandah reads Turners Butchery and has a picture of a ram's head between the two words. The signage on side of building reads Specialising in FEEDLOT STEAKS, QUALITY Pork & Lamb, Friendly Service. Deliveries. The sign on the side of the bullnose verandah reads TURNERS Butchery Phone 911506. A sandwich board in front of the shop on the edge of the footpath reads Butcher NOW OPEN. A white station wagon is parked in the yard beside the shop. There are two red and white school crossing posts on the rod in front of the shop. A building is under construction in the block across the road and there is orange safety fencing around the front of the block. The mill silos are visible behind the butcher shop.turner's butcher shop, high st charlton, learmonth st charlton -
Warrnambool and District Historical Society Inc.
Document - Advertising item, Matchbox holder, Early 20th century
James Parker and William McMeekin arrived in 1881 in Victoria and commenced their business a large proportion of which was in Warrnambool. They opened up a butter, cheese and pork export trade with South Australia, which operated successfully for sometime before South Australia altered their tariff duties which badly affected trade. After a period dealing with Queensland, they set their sights further afield to London. The Warrnambool butter Factory was commenced around this time and William McMeekin was closely connected with its establishment. They traded in other farm produce and machinery as well as having interests in land, loans and insurance. William McMeekin was a member of the Town Council for some time and J.P. McMeekin was a member of the Villiers and Heytesbury Agricultural Society and was a director of the Warrnambool Cheese and Butter Factory. They operated their business from different sites in Kepler Street and Raglan Parade.An everyday item with a link to an individuals and a company which had a long association with Warrnambool.Aluminium cover with raised edge shaped to fit around top, bottom and one side. Designed to fit around match box leaving striking edge exposed. Embossed lettering on front and back. Contains matchbox with label depicting shell in green with green and yellow background. Box is faded blue. J.P. McMeekin Produce Merchant Warrnambool Phone 263 on front and back. Prov pat ** 367 on side. warrnambool, p.l. phillips, grocer, provision merchant, nestle warrnambool, nestle dennington, calendar 1919 -
Wooragee Landcare Group
Photograph, 5 September 2004
This photograph was taken at Samaria Farm on Sunday the 5th of September when Wooragee Landcare Group took a bus trip to the Tatong area (near Benalla) to look at land use on small farms. The day trip was organised to observe land use on small farms as well as a social event for the Group. Samaria Farm at the time was a nine-hectare property located in northeast Victoria, near Mount Samaria, 130 km Northeast of Melbourne. The photograph features several pigs believed to be the breed called Large Black. The Large Black Pig breed is a traditional, heritage breed that was first imported to Australia from the UK in the early 1900's. It is believed to have originated from the Old English Hog of the 16th and 17th Centuries. The first reference to them in the Australian Pure Bred Pig Herd Book was in 1912. They are a black pig with lop ears and were prized for their superior milking and mothering abilities and soon became popular with early Dairy Farmers who fed them whey from separated milk as part of their butter making process. They proved economical to keep and, being excellent grazing pigs, were also used to pick up windfall fruit in orchards. Their black colouring also enabled them to withstand the hot Australian summers and avoid sunburn which combined with their hardiness and docile temperament made them highly suitable for free-range pork production, however Large Black pigs tend to get very fat and were not suitable for intensive farming so were often crossed with other breeds for pork production. They are now quite rare as a pure breed having been on the edge of extinction for some time. They were rescued in the early 1990s by a rare breeds farmer in the Yarra Ranges. These days they are also the focus of a small conversation effort with six registered breeders currently in Australia. For biosecurity reasons there are no imports of live pigs or pig semen permitted into Australia. This photograph shows a group of people attending one of the events that Wooragee Landcare Group has organized within the educational framework of promoting best land management practices for all types of land uses and ensuring sustainability, in addition to encouraging community interaction via social events. The Large Black pig breed is significant because of their role in early Victorian farming. They are now quite rare as a pure breed having been on the edge of extinction for some time. These days they are the focus of a small conversation effort with six registered breeders currently in Australia. For biosecurity reasons there are no imports of live pigs or pig semen permitted into Australia. Wooragee Landcare Group is important to local community landcare and environmental management practices.Colour rectangular photograph printed on paperObverse: WAN NA EONA2N2. ANN+ 3 4240/ (No. 17) 370samaria farm, wooragee landcare, wooragee landcare group, tatong, benalla, black pigs, large black, traditional breed, heritage breed, pigs, lop ears, free range pork production, early victorian farming -
Flagstaff Hill Maritime Museum and Village
Domestic object - Pudding Mould
One of the first documented mentions of pudding can be found in Homer's Odyssey where a blood pudding roasted in a pig's stomach is described. This original meaning of a pudding as a sausage is retained in black pudding, which is a blood sausage originating in the United Kingdom and Ireland made from pork or beef blood, with pork fat or beef suet, and a cereal. Another early documented recipe for pudding is a reference to asida, found in a tenth century Arabic cookbook by Ibn Sayyar al-Warraq called Kitab al-Ṭabīḫ (Arabic: كتاب الطبيخ, The Book of Dishes). It was described as a thick pudding of dates cooked with clarified butter (samn). A recipe for asida was also mentioned in an anonymous Hispano-Muslim cookbook dating to the 13th century. In the 13th and 14th centuries, in the mountainous region of the Rif along the Mediterranean coast of Morocco, flour made from lightly grilled barley was used in place of wheat flour. A recipe for asida that adds argan seed oil was documented by Leo Africanus (c. 1465–1550), the Arab explorer known as Hasan al-Wazan in the Arab world. According to the French scholar Maxime Rodinson, asida were typical foods among the Bedouin of pre-Islamic and, probably, later times. In the United Kingdom and some of the Commonwealth countries, the word pudding can be used to describe both sweet and savoury dishes. Unless qualified, however, the term in everyday usage typically denotes a dessert; in the United Kingdom, pudding is used as a synonym for a dessert course. Puddings had their 'real heyday...', according to food historian Annie Gray, '...from the seventeenth century onward'. It is argued that 'the future of the boiled suet pudding as one of England's national dishes was assured only when the pudding cloth came into use' and although puddings boiled in cloths may have been mentioned in the medieval era, one of the earliest mentions is in 1617 in a recipe for Cambridge pudding, a pudding cloth is indicated; 'throw your pudding in, being tied in a fair cloth; when it is boiled enough, cut it in the midst, and so serve it in'. The pudding cloth is said, according to food historian C. Anne Wilson, to have revolutionised puddings. 'The invention of the pudding-cloth or bag finally severed the link between puddings and animal guts. Puddings could now be made at any time, and they became a regular part of the daily fare of almost all classes. Recipes for them proliferated.' https://en.wikipedia.org/wiki/PuddingPuddings and pudding making have evolved over the years, and continue to do so. White ceramic pudding bowl with fluted decoration on the outside.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, puddings, ceramics -
The Beechworth Burke Museum
Animal specimen - Morepork, Trustees of the Australian Museum, 1860-1880
The Morepork is a small brown and white spotted owl found in New Zealand, Tasmania and Norfolk Island. It is known by around twenty different names which are all onomatopoeic which emulate the birds distinctive two-pitched call. They are mostly nocturnal and carnivorous (eating insects and small vertebrates). They reside in habitats with trees, they sleep in roosts and hunt mainly in the evenings and early morning. Females are slightly bigger than males. This species attains full plumage in its third or fourth year. They can turn their heads 270 degrees." In Māori tradition the morepork was seen as a watchful guardian. It belonged to the spirit world as it is a bird of the night. Although the more-pork or ruru call was thought to be a good sign, the high pitched, piercing, ‘yelp’ call was thought to be an ominous forewarning of bad news or events." (NZ Department of Conservation). 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 Morepork (also known as the Masked Owl) is covered in brown and white plumage on its head and body. The white feathers delineate its round yellow eyes. Its belly and back are brown and white with the white feathering appearing spotted. This Morepork specimen sits on a wooden perch with his head turned to the left. A swing tag is attached to its left leg.Swing tag: 10 / Masked Owl / See Catalogue, page 3 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, ruru, spotted owl, tasmanian spotted owl, morepork, mopoke, new zealand owls, new zealand birds, tasmanian owls, tasmanian birds, norfolk island owls, norfolk island birds -
The Beechworth Burke Museum
Animal specimen - Morepork, Trustees of the Australian Museum, 1860-1880
The Morepork is a small brown and white spotted owl found in New Zealand, Tasmania and Norfolk Island. It is known by around twenty different names which are all onomatopoeic which emulate the birds distinctive two-pitched call. They are mostly nocturnal and carnivorous (eating insects and small vertebrates). They reside in habitats with trees, they sleep in roosts and hunt mainly in the evenings and early morning. Females are slightly bigger than males. This species attains full plumage in its third or fourth year. They can turn their heads 270 degrees." In Māori tradition the morepork was seen as a watchful guardian. It belonged to the spirit world as it is a bird of the night. Although the more-pork or ruru call was thought to be a good sign, the high pitched, piercing, ‘yelp’ call was thought to be an ominous forewarning of bad news or events." (NZ Department of Conservation). 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 Morepork (also known as a Masked Owl) is covered in brown and white plumage on its head and body. The white feathers delineate its round yellow eyes. Its belly and back are brown and white with the white feathering appearing spotted. He sits on a wooden perch with his head turned to the left. A swing tag is attached to its leg.11 / Masked Owl / See Catalogue, page 3 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, ruru, spotted owl, tasmanian spotted owl, morepork, mopoke, new zealand owls, new zealand birds, tasmanian owls, tasmanian birds, norfolk island owls, norfolk island birds -
Halls Gap & Grampians Historical Society
Photograph - B/W, C 1931
A major rebuilding project took place. Brothers John & Thomas Morgan with local storekeeper Harold Goodwin Taylor designing and building a grand new Guest House with 22 bedrooms plus the original bungalows. Unheard of at the time the guests bedrooms had hand basins with hot & cold running water. This was achieved by building a weir on Stony Creek and piping the water to a high holding tank at the guest house. The dining room was a grand affair, a 4.5 metre high ceiling with beautiful gold leaf cornices, art deco ceiling and wall lights with feature plaster lights in the form of blue bells, wall to wall carpet and Kentia palms completed the picture. Ladies & gentlemen dressed for dinner, the ladies resplendent in their long evening gowns and jewellery would come down the stairway from the entrance hall to the lounge then the dining room. The tables were beautifully appointed with damask table cloths & fine silverware. The kitchen was well appointed with a huge coal fired range and a donkey for hot water. Milk & cream, bacon & pork, chicken & eggs together with vegetables were all home grown on the property. A large ballroom with a beautiful timber floor was the scene after dinner for many dances and party nights with guests from other establishments and locals joining in for the night. A huge fernery was also a feature of the gardens. During the day tennis parties would be held on the courts, together with horse riding and guided walks were taken out by local guide Gilbert Rogers.Photo of newly built Grampian Houseaccommodation, guesthouses, accommodation, grampian house -
Red Cliffs Military Museum
Menu, POW Dinner Menu 1944, 1944 (exact)
Forms part of the A.J. (Blue) Roddy VX8007 Collection2 sheets of card used to make a menu, hand sketched xartoon on front in grey lead and ink of soldier leaning on a shovel. Inside is two menus. One is the ideal menu the second is the real menu, (Very Humerous) all hand written in ink. Brought home from POW camp by A.J. (Blue) Roddy VX8007Front page: 3rd POW/ Anniversary/ 1944/ Bottom Left corner: Notsch 10811/GW Page 1: MENU/ Hors-d'oeuores/Soup./ Consomme Minestrone Tomato Bouillon/ Fish/ Whiting Dover Soles Oysters./ Emtree/ Roast beef and Yorkshire Pudding/ Roast Pork and White sauce./ Grilled chops and peas./ Dessert. Peach Melba Fruit Salad and Cream/ Carlton Puding, Apple pie and Cream/ Ice Cream/ Coffee.// Page 2: Menu/ Horses Manoeures/ Etwas./ Yeatecomme,Tinned Tomato Bully./ Tons of it./ Salmon Red. Salmon Pink. Sardines Varied./ Enter./ Roast Bully and "Bengers" Yorkshire Pudding./ Roast Meat Roll and Horse radish sauce/ Garlic sausage Grilled spick and Etwas./ Desserted./ Rice Custard, custard,/ Fruit salad and klim, Notsch duff./ Currant Pudding and custard./ Cold klim./ Coffee - if lucky tea./ Captivity Plonk./ K.G.H. Schnapps, Soft Drinks/ Beer cocktails.of, world, war, prisoner, roddy, a j blue, menu, war11, notsch, 1944, stalag, xv111a -
The Beechworth Burke Museum
Photograph - Carte de Visite, James Bray, 1870
This photograph was taken in c.1870 and depicts Aaron Sherrtt who is best known for his involvements with, and eventual assassination by, the Kelly gang. He stands upright in the image with his arm leaning on a podium which reaches his hip. He is wearing an outfit for which he was infamous. Richard Warren, son of the proprietor of the Ovens and Murray Advertiser once stated that “anyone seeing [Aaron] coming down Ford Street would ask, “Who the hell’s this? Some advance agent for the circus?”’. The outfit Aaron wore for this particular photoshoot is reminiscent of this quote. He wears an unusual spotted shirt with a waistcoat and a sash is tied at his waist. He wears boots which turn up slightly at the toes. The hat is a “pork pie” hat which is worn in the typical “Greta Mob” style with the chinstrap under the nose. Aaron Sherritt was born in 1854 in Prahran, Melbourne, to Irish Protestant parents John and Anne. Sherritt stood at 5 foot 10. He had hazel eyes, dark brown hair and pale olive skin. Sherritt was childhood friends with Kelly Gang member, Joe Byrne, having previously attended the same school. Both men had a reputation for stealing horses and on one occasion, after stealing and butchering a cow, Sherritt and Byrne were convicted to six months in Beechworth Gaol (1876). Sherritt, along with Byrne, were reportedly recruited by Ned Kelly in 1877 in stealing stock; however, Sherritt never became a fully-fledged member of the Kelly Gang. Nevertheless, Sherritt scouted for the Kelly Gang in 1878. He later struck a deal with the police (specifically, with Chief Commissioner Standish) to save Joe Byrne's life in exchange for leading the police to the other members of the Gang. From then on, Aaron Sherritt lived the dangerous life of a double agent, providing police with what is assumed today to have been outdated or incorrect information in return for money. On the 26th of June 1880, Aaron Sherritt was murdered in the Woolshed Valley. He was approximately 23-25 years old at death. This event marked the start of the Kelly gang’s last days. Sherritt was murdered by Byrne in front of his wife, 15 year old and heavily pregnant Ellen “Belle” Sherritt and her mother Ellen Barry. Also in the Sherritt dwelling on this particular night were four policemen. The intention behind Sherritt’s murder was for the police to send word to Melbourne that the Kelly gang had murdered Sherritt and a police train would be sent to Glenrowan where the rest of the Kelly gang were waiting. This plan did not go as predicted and ultimately the Kelly gang fell at Glenrowan in 1880. This photograph was taken by James Bray who worked as a professional photographer in Camp Street Beechworth from 1870-1891. He was one of four men who photographed the Kelly Gang after the siege in Glenrowan in 1880. He is also renowned for his previous work photographing members of the Kelly gang. This photograph is part of the Burke Museum "Kelly album" which includes a significant collection of photographs and artefacts connected to Ned Kelly and the Kelly Gang. Ned Kelly and his gang have become ingrained in Australian popular culture and thus many museums, art galleries and private collections house material connected to the Kelly story which allows the events and people to be researched and interpreted. Artefacts and photographs pertaining to the Kelly gang are particularly valuable for Australian museums. This particular photograph is significant for its connection to Beechworth photographer James Bray who is responsible for many images depicting members of the Kelly Gang. The photograph is also of artistic significance as an example of a Carte de Viste dating to 1880 and it's connection to Aaron Sherritt.Sepia rectangular photograph printed on card. Obverse: J.E.Bray./ Photo/ Beechworth Reverse: Portrait & Landscape/ Photographer 5/ Aaron Sherritt J E Bray Signature Beechworth/ Victoria Beware (almost erased out) Negatives Kept. Copies 5I/.Each May/ Be Had By Forwarding Name And Address/ Accompanied With Remittance To/ The Amount Of Order/ Photographs Coloured In Water Colours 10237. kelly album, woolshed valley, 1870s, kelly gang, joe byrne, ned kelly, aaron sherritt, james bray, beechworth, burke museum -
Kiewa Valley Historical Society
Book - Reference Cooking, SEC Cook Book of Family Favourites, Circa 1950
This SEC cook book was produced circa 1950s when the Kiewa Hydro Electricity Scheme and its Commission was in full swing. The Commission had constructed two settlements, Mount Beauty and Bogong Village to house construction workers and their families in a "closed" community. These "closed" communities were for SEC staff and construction workers only. Entry into these villages was restricted to "SEC pass" carrying construction staff and their families. All facilities such as retail, sporting and other community services was provided by the SEC. This created an isolated community in which limited individual choice or administrative family leeway was available. It was a typical company town (live and work for the company). The Company was in the Kiewa Valley constructing power stations for the Kiewa Hydro Electricity Scheme of Victoria. In one way the individual did not need to be concerned with living costs, educational needs for children, and recreational amenities and therefore "normal" community survival /living methods did not apply. This living, although restrictive, was quite simple. When the scheme was completed, in 1961, marking the end of company town, caused some of the employees, who had enjoyed the "controlled" township environment, a fair degree of angst in having the new 'laissez-faire" controls thrust upon them. This was magnified when both Mount Beauty and Bogong Village became meshed into the Bright Shire, vis-a-vis, local government. This cook book is a prime example of " the company is looking after you" and leave the worrying to us. This environment of a "company town", which creates the atmosphere of minimal personal responsibilities, is still present in a few remote mining towns in Australia at the beginning of the 21st Century.This book is a classical example of the psychological control in which the company had its construction workers families living in. The motto of many companies who had employees in isolated regions was "keep them happy". A happy and contented worker is a more productive worker. This was a period in time (1950s to 1970s) when social psychology was gaining recognition in the Australian workforce as well as internationally. At the end of the construction of all the power stations both the Mount Beauty settlement and the Bogong Village became more integrated into the main stream of rural Australia environment. Development of tourism in the region opened up not only interaction with a greater cross section of the ever expanding type of Australian but also the overseas based non rural culture tourist or immigrant. It allowed the intermingling of ideas in a non company controlled environment. The Mount Beauty and Bogong Village has, and even up to the 3000 Millennium, the same housing construction, as was built by the SEC. There has only been a very gradual change to modern domestic architectural home styles. This SEC cookbook has a folded cover with two staples at the spine, securing eight double sided pages. The white pages contain black print and sketches(3), and one black and white photograph (of the author). The front cover is mainly orange in colour with a gradual fading into yellow(at the top). The cover is approximately 210 g/m2 in thickness and each page is approximately 90 g/m2 thick. Front cover: top of page "SEC Cook Book of Family Favourites", in the middle a sketch, black on orange background, of a smiling mother walking from the kitchen to the dining table with a steaming rolled roast and vegetables in one hand and a gravy pot in the other. The furniture and decor relates to the 1950s. Below this sketch is printed"SEC TESTED RECIPES NO. 16" Inside cover: on top of the page is a black and white sketch of a pineapple, apple pear fish with scales, bunch of grapes with leaves a pork roll (head of pig one end and a roll ending on the other, on top of this food arrangement rests a fruit pie. Below this sketch are printed in black print the books contents.The first side of the first page is a black and white photograph Mary Dunne, the SEC Home Service supervisor who provided a signed foreword. The inside back cover has a promotional segment detailing a black and white photograph of a smiling (and happy) couple in the foreground with an electric stove in the distance. The written motto below this photograph is" to Live better -and save money they'll join the Power People. "the new tariff is(1960s) - First 75kWh --6 cents per kWh Next 435 kWh---2.3 cents per kWh Balance --1.7 cents per kWh The rate per killowatt-hour for the final block drops from 2.1 cents to 1.7 cents --a reduction of 19%.cooking recipes circa 1950s, domestic food, sec victoria cook books, recipes circa 1950s -
Flagstaff Hill Maritime Museum and Village
Anchor, Before 1831
Historical Information: The anchor is from the wooden sailing ship CHILDREN, which was wrecked at Childers Cove east of Warrnambool on the 15th of January 1839 with the loss of 16 lives. The Children anchor was raised from the wreck site by Flagstaff Hill Divers; Peter Ronald, Garry Hayden (Terang, still), Tim Goodall (now Warrnambool), and Colin Goodall (now Warrnambool), on Sunday 3rd January 1974. A week or so later it was dragged up the cliffs and taken to Warrnambool. It is now on display near the entrance to the Maritime Village and Museum. It appears to be a Pering’s Improved Anchor, developed at Portsmouth after 1813. The addition of broad curvature to the anchor arms provided a stronger purchase than the pre-existing Admiralty Old Pattern Long Shanked Anchor with straight arms. However, the evidence of hammer-welding the separate pieces of the arms and palms to the central shank (peaked crown and flat palms) suggests the manufacture is before the 1831 Rodger’s Anchor design, (which cast both arms and their flukes as one piece that was then attached to the shank by a bolt through the crown). This identification seems consistent with the date of the CHILDREN’s construction in 1824. The CHILDREN was a three masted barque with a wooden hull built at Liverpool in England. She was bought by the Henty family of Portland (Australia Felix) in 1837 for regular coastal trading between Van Diemens Land, the Port Phillip District of New South Wales and South Australia. Only 255 tons burden (92 feet in length, with a beam of 25 feet and depth of 17 feet), she sailed from Launceston bound for Adelaide in late December1838, on her first Australian voyage and under the English master who had brought her out – Captain H. Browne. On board the CHILDREN were 24 passengers, including 9 children; the captain and 14 crew; livestock of 1500 sheep, 8 bullocks and 7 horses; general cargo of beef, pork, tobacco, tripe, butter, limejuice, horse hair, currants, lead shot, beer and spirits; 5,000 house bricks from London; and six whaling boats with associated whaling gear. The vessel was battered by gale force north-westerly winds shortly after setting out from Launceston on 11 January 1839 and adverse sailing conditions persisted for the next four days. At 11 pm on the 15th of January 1839, and many miles north and east of the captain’s navigated position, the CHILDREN struck the Pinnacle, a limestone stack off Childers Cove. Within half an hour the ship was completely destroyed. As well as the loss of livestock and cargo, 16 passengers and crew perished, including the captain, six men, one woman and eight children. In 1931 shifting sands at Childers Cove uncovered the skeleton of an adult male. In 1951 another two skeletons were exposed by storms, an adult male and a child. In 1963 some district scuba divers retrieved a small signal-cannon from the site. And in 1974 Flagstaff Hill recovered the anchor and some house bricks. The shipwreck of the CHILDREN is of state significance – Victorian Heritage Register No. S116.A large forged-wrought iron anchor from the wreck of the CHILDREN. Flat hammer-welded flukes on opposing curved arms and a peaked crown. It has a metal (elbowed) stock or cross-bar and a heavy duty pinned shackle (not ring) for the anchor chain. It is in fair condition but extensively corroded after 135 years on seabed (supported on display) .warrnambool, shipwreck coast, flagstaff hill, shipwrecked coast, flagstaff hill maritime village, flagstaff hill maritime museum, shipwreck artefact, maritime museum, the children, childers cove, anchor, pering’s improved anchor, 1839 shipwreck. -
Flagstaff Hill Maritime Museum and Village
Photograph - Vessel, S.S. Warrnambool, 1998-2003
This photograph and a matching earlier photograph are the images of a painting of the British steamship SS Warrnambool at Dover Strait in the English Channel. The photographs were donated by the painting’s owner, who acquired the 30” x 56” (76 x 142.5 cm) oil on canvas painting in 1998. Both photographs were accompanied by a letter, one written in 2001, and the other in 2003. The letters confirm that the artist of the painting was Charles Keith Miller, signed with the initials “CKM” and dated “1893”. The painting shown in the photographs was a gift to the Town Council of Warrnambool, presented to Warrnambool folks in Melbourne on December 1, 1892, by the Captain of William Lund’s ship SS Warrnambool. The painting was given by Lund in appreciation of the Ladies of Warrnambool who had presented the ship with a ‘house’ flag bearing the Blue Anchor Line’s symbol of a diagonal blue anchor on a white background; the ladies had made the decision to present the flag only a month earlier. A few days later, December 6th, the SS Warrnambool was on its homeward journey to Britain, sailing via Adelaide. It anchored for a short time off the Port of Warrnambool. A boat was launched from Lady Bay to take a group of friends to the ship with a delivery of gifts. After cheers were roused for both the ship and the Captain, the ship continued on its way. The photograph shows the gifted white flag with a diagonal blue anchor flying from the masthead. The same symbol is painted on the ship’s black funnel. The signal flags on the foremast display ‘M’ ‘R’ ‘V’ ‘B’. These letters are most likely the ship’s call number ‘MRVB’. Although the painting was given as a gift in December 1892, it is post-dated “1893”. Perhaps the painting was given earlier than anticipated; or the date added later, but whatever the reason, the provenance of the painting was confirmed at auctions of this painting and other works by the same artist. CHARLES KEITH MILLER 1836-1907:- Captain Charles Miller left his home in Scotland at the age of 15 years for a life at sea. He earned his Master’s Certificate ten years later. After being the captain of sailing ships he moved over to the steamships because they were faster. In 1866 he married and settled in Glasgow. Over the following eleven years he and his wife had five children, then sadly his wife passed away. Captain Miller returned to the sea for a while but in 1888 he gave up his sea life to spend his time as a marine artist. His understanding of seafaring life and vessels, combined with his artistic skills, gave him the ability to produce fine art and several galleries and museums have collections of his sought-after works. S.S. WARRNAMBOOL 1892-1925:- The steamship SS Warrnambool was built in 1892 by the Sunderland Ship Building Company for the Lund Line of London, founded by William Lund in 1869. It efficiently carried both passengers and cargo across the world to Australia, under the command of her master Captain Joshua Edward Iibery, who had many years of experience with the Blue Anchor Line. The company, referred to as the Blue Anchor Line or BAL, owned a fleet of both sail and steamships. The funnels of all of the steamships were painted black, with a white band around the top bearing a diagonal blue anchor and chain. The company’s house flag was also white with a diagonal blue anchor. The SS Warrnambool carried passengers and cargo in a ‘no frills’ service to and from Europe around the Cape of Good Hope, stopping at some ports in between. The ship was involved in bringing home returned solders in 1895. At one time it carried a doctor from Victoria, Australia, to assist at the war front in South Africa. The ship had a very good reputation for its cargo arriving ‘almost always in excellent condition.’ Exported goods from Australia included iron safes, flour, wool, apples, frozen rabbits, butter, cheese, pork, cattle, poultry and sheep. One remarkable delivery contained Ostriches for Queen Victoria and they survived the journey well. The SS Warrnambool was sold in 1900 to the British and South American Steam Navigation Co. Ltd of Liverpool and was renamed ‘Harmodius’. The company was managed by R.P. Houston & Company of London and its Houston Line funnels were red with a black top. The Harmodius was sold in 1919 to K.S.S. Co. Ltd, managed by Kaye Son & Co. Ltd. of Liverpool, and was renamed ‘Kut’. The line had black funnels with a white ‘K’ in a diamond or between white stripes. In 1926 it was purchased by T.W. Ward Ltd. and broken up. NOTE- other vessels named “Warrnambool” Two other vessels carried the name “Warrnambool” (1)- HMAS Warrnambool J202 (1941-1947), a Bathurst Class corvette vessel owned by the Royal Australian Navy, destroyed by a mine. The photograph is significant for its association with the painting "SS Warrnambool" by well-known early 20th century marine artist Charles Keith Miller, whose paintings are well valued. The painting and the photograph of it are namesakes of Warrnambool and are connected through the gifts exchanged between the ship company owner, the City of Warrnambool and the Ladies of Warrnambool; the House Flag and the painting by C K Miller. The image is a good likeness to original photographs of the late-19th to early-20th century steam and sale vessel. Coloured photograph of a painting, the steamship S.S. Warrnambool. The three-masted ship has lowered sails. It is in calm water, land on one side, and other vessels in the water. The ship has four raised signal flags, a house flag and a blue ensign. The funnel also bears the house flags symbol. Smoke emits from the funnel. Figures are visible onboard. There is a signature and a title on the lower edge of the photograph. (Artist of the painting in the photograph was Charles Keith Miller)House flag symbol, [diagonal blue anchor on white background] Text "CKM" and "1893" Text "S. S. 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