Fire screens were developed early in the 19th century to prevent sparks from flying into the room or logs rolling out when a fire was left unattended. They also served as ornamental or decorative items, particularly ones such as this fire screen made from beaten or forged copper. Their decorations often depicted rural scenes.This item is representative of fire screens used in Australian homes to protect them from fire during the 19th and early 20th century when open fires were the main form of household heating.A fire screen made from beaten copper with a wooden frame. The screen design depicts a group of people sitting outside an Elizabethan building with a dog in the foreground and trees either side. The building is possibly a tavern as the people are seated on barrels. The frame is made from wood and has wrought iron legs screwed in place on either side and a handle attached at the centre top edge.forged copper, fire screens, decorative household items

The fire screen was gifted to Mr J J Watson at his retirement in 1952. The assembly hall at the Mair Street property was named in his honour. Mr J J watson was a member of the school council from its inception in 1919 when he was elected as a representative of Scots' Church. He succeeded Rev J T Riddle as secretary to council in 1920. In 1954 the assembly hall at the Mair Street property was officially named Watson Hall in his honour. In 1957 the constitution of the Council was amended to enable Mr Watson to be elected its first life member. The fire screen was returned to the school by the family after his death. In a tribute in 1952 at the time of Mr watson's retirement from secretarial position on council, Principal Kerr said, 'Mr watson's family was friendly with the Kennedy(founder) family in Ireland, so that his interest in Clarendon was almost hereditary. His breadth of vision, generosity, devotion to the advancement of the school in every way, and meticulous care of the property and ikts interests, have given him a unique place in the hostory of the school. Wood fire screen with school crest at top of front. Carved details at top corners and base of front feature scottish thistle and leaves. Solid wood frame and stand; veneer insert. Small bronze plaque fixed to top of back. Plaque: Presented to / Mr J J WATSON / in appreciation of his devoted service / as secretary of the council of / CLARENDON PRESBYTERIAN LADIES / COLLEGE / FROM 1920 - 1952.j-j-watson, clarendon-presbyterian-ladies-college, mair-street-campus, school-council, watson-hall, life-member, fire-screen, furniture,

Beige hardback book with black letteringScreen Printing. W Taussig

On the front (rear) face of this metal firescreen is an image of the RVIB St Kilda Road building and front gardens, with the words 'Royal Victorian Institute for the Blind' in curved lettering above the building. A name plate is attached by cord to the firescreen, which reads "In Memory Of M.N. Moylan Life Member Brighton Auxiliary". It is unknown whether the firescreen was made by blind metal workers, however it shows signs of use, quite possibly at the St Kilda Road building itself.Metal fire screen with etched image and attached plateRoyal Victorian Institute for the Blind In Memory of M.N. Moylan Life Member Brighton Auxiliaryroyal victorian institute for the blind, m.n. moylan

These two photographs were most likely taken in the 1970s at the Army Survey Regiment’s Drill Hall Golden Square, Bendigo. The photos are annotated with the name of the technicians written on the back. In these photos the technicians are performing screen printing tasks.This is a set of photographs of lithographic technicians using screen printing equipment at the Army Survey Regiment, Bendigo from c1960s to c1980s. The photographs were printed on photographic paper and are part of the Army Survey Regiment’s Collection. The photographs were scanned at 300 dpi. .1) - Photo, black & white, c1970s, L to R: Bruce Appleford, SGT Evan Giri, Lithographic Squadron .2) - Photo, black & white, c1970s, Ian ‘Lofty’ Turner, Lithographic Squadron.1 to .2 – personnel names (less rank) annotated on back. royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr, litho, printing

Since the establishment of the School of Mines Ballarat (SMB) in 1870, Federation University Australia has emerged in multiple forms, and under multiple names, to educate generations of engineers, nurses, and teachers – and in more recent years, games designers, sports and exercise scientists, craft beer brewers, and other professional occupations inconceivable to the University’s founders in the late 19th century. Today, our footprint stretches around the world, thanks to key partnerships established domestically, and with institutions in China, Malaysia, and India. But the story starts with a meeting of the Ballarat Mining Board, in 1869, and a pressing need for innovation.A number of screen backgrounds used during 2020, the 150th anniversary of the Ballarat School of Mines. The anniversary took place in the middle of lockdowns associated with Covid19, making screen backgrounds important.non-fictionfederation university, anniversary, sesquicentenary, 150th anniversary, covid19

Set of 12 foolscap photocopied sheets, titled "Destination Screen Printing" - lists the destination for each depot and the positioning on the roll. Copied by John Prideaux 9/2/1988 1 - Preston depot 2 - Glenhuntly Depot 3 - second sheet for above 4 -Malvern Depot 5 - South Melbourne Depot 6 - Brunswick Depot 7 - Essendon Depot 8 - Kew Depot 9 - Camberwell 10 - Decorated car - Preston, North Fitzroy, Kew - roll 1 11 - Decorated car - Essendon, Brunswick, South Melbourne - roll 2 12 - Decorated car - Malvern, Camberwell, Glenhuntly - roll 3On the top sheet "Preston Workshops Paint Shop Data - "Destination Screen Printing" on the top edge of the first sheet and "copied 9/2/88" on the bottom right hand corner of most sheets.trams, tramways, destination roll, the met, w class, decorated trams

This screen with embroidered and appliqued panels was entered in the First Australian Exhibition of Women's Work 1907, at the Royal Exhibition Building in Melbourne. This landmark exhibition gave women artists and craft workers an opportunity to display their works to a broad audience and gain recognition for the variety and high standard of the works in both traditional and non-traditional fields for women. The embroidery and applique design is based on an original design for a similar object made by British Arts and Crafts Architect and Designer, M.H. Baillie-Scott, which was published in The Studio magazine in the early 1900s,This three-panel draught screen was made by Hilda Leviny in the Arts and Crafts style and entered into the First Exhibition of Women's Work, at the Exhibition Buildings, Melbourne in 1907.Arts and Crafts style three-panel draught screen made from timber(American Oak), linen panels, silk embroidery threads, beaten copper decoration and varnish. The embroidered panels, made by Hilda Leviny, are mounted within the timer framework, depicting a design of birds and trees in the Arts and Crafts style. Pattern Reg. No. 3227.2 and 2503. With copper decoration.hilda leviny, buda, castlemaine, domestic furniture, handcrafts, needlework, art nouveau, 1907, exhibition of women's work, royal exhibition building, woodwork, draught sceen, arts and crafts movement, embroidery and applique

The fire screen was part of the original furnishings of the Lighthouse Keeper's Quarters in Merri Street, Warrnambool. It was made by Lighthouse Keeper, Thomas Hope. Thomas served two terms as an assistant lighthouse keeper in Warrnambool. His first term was from 1905 to 1907. He later returned from 1910 to 1913, when he was appointed as Keeper five months after the untimely death of his predecessor Peter Quinn. Woodworking was one of Thomas Hope’s hobbies, and the three-panel fire screen he made as a lighthouse keeper is now in the Flagstaff collection and is displayed in the Lighthouse Keeper’s Cottage. Thomas Hope 1857 - 1928 Thomas James Hope was born in Camden, Surrey, England in 1857. His father, also called Thomas, was reputed to be a member of the Royal Family, and Thomas Hope Junior his illegitimate son. Thomas was subsequently brought up on the estate of the Earl of Hopetoun in Somerset and it was thought that Thomas was the Earl’s grandson. Against the wishes of those in charge of Thomas, he joined the navy at an early age, seeing much of the world until he settled in New Zealand at the age of twenty-four. After some years in New Zealand, he came to Australia to live. One of the jobs Thomas Hope had prior to becoming an assistant lighthouse keeper in 1896 was as a cook in the Lunatic Asylum at Sunbury, Victoria. He served as an assistant keeper at Shortlands Bluff, Gabo Island, Split Point and Warrnambool, retiring in 1918. He bought a house in Nicholson St, Warrnambool and died in March 1928. He is buried in the Warrnambool cemetery. Thomas Hope is recorded in family history as being of short stature and, not surprisingly given his alleged aristocratic connections, possessed a beautiful speaking voice. He and his wife Elizabeth nee Waters, whom he married in New Zealand, had six children (Thomas, killed in World War One), Ellen (Nell), Nora (who was married at the Warrnambool lighthouse keepers cottage), William (who died in Warrnambool), Marion and Alan. Joseph Hoover (Dec 29, 1830, to Aug 7, 1913) Joseph Hoover, the printer of the pictures on the screen, was born in Baltimore, of Swiss-German heritage. He was trained as an architectural woodturner. In 1856 Hoover moved to Philadelphia and began producing elaborate wooden frames in his wood-turning and framing business. By 1865 Hoover had started to produce popular prints for publishers and artists, which included noted Philadelphia artist James F. Queen. In the 1880s Hoover set up a complete plant specialising in chromatography, the process of producing colour prints from lithographic plates. The coloured prints he produced were affordable to business and private customers. In 1893 his son Henry L., a trained lithographer, joined the company as overseer and it was called J. Hoover & Son. It became one of the largest in America by the turn of the century. Hoover won a medal for Excellence for his Chromolithographs of James Queen’s works. In 1904 Joseph’s other son, Joseph W, joined the business as a partner and the company was called Jos. Hoover & Sons. Hoover died of a heart attack in 1913. He was survived by his wife and six children: two sons who were also his business partners, and four daughters. The firm continued in production until around 1985. Hoover’s prints included scenes, still life and landscapes of America and other locations. They were sold in America and overseas to countries including Canada, Germany, Mexico and England. The three-panelled screen in the Lighthouse Keeper’s Cottage was made by the Assistant Lighthouse Keeper, Thomas Hope during one of his two terms at the Lighthouse Keepers' Quarters. It is the only object in the collection known to be connected to Hope. The Lighthouse Keeper's Cottage is part of the Lady Bay Lighthouse Complex, which is listed on the Victorian Heritage Register for being of historical, scientific (technological) and architectural significance to the State of Victoria.Fire screen comprising three black wood framed panels hinged together. Each panel contains a glass-encased print depicting a rural landscape. Ornate stencil cut wood edging and quilt-inspired parquetry sits above each panel. The central panel is taller than those either side. Screen is lined in black-painted cardboard.Printed at the base of each of the three prints “COPYRIGHT 1896 BY J. HOOVER & SON, PHILAD’’A.”flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, firescreen, thomas hope junior, ellen (nell) hope, nora hope, william hope, marion hope, alan hope, jos. hoover & sons of philadelphia, lighthouse keeper, assistant lighthouse keeper, carved screen, merri street, lighthouse keeper's cottage, lighthouse residence, lighthouse, wood carving, lighthouse complex, lady bay lighthouse, fire screen

This item is an example of a handcrafted bamboo piece of furniture.Small bamboo screen with plain and ribbon embroidery. Handmade.screen-bamboo handcraft furniture

Holy Trinity Anglican Church Sanctuary & Chancel Screenstawell religion

Holy Trinity Anglican Church Sanctuary & Chancel Screenstawell religion

These screen backgrounds were used during 2020, the 150th anniversary since the establishment of the Ballarat School of Mines. It was also the year of the Covid19 pandemic lockdowns when classes and work was all conducted online from homes. federation university, sesquicententary, anniversary, screen backgrounds, pandemic, covid 19

Designer book promoting graduating Graphic Design class of 1997. Accompanied by a Compact Disc (CD Rom) of student work, refer item 29163.2 for screen captures from CD Rom. Lecturer, Helmut Stenzel.Graduation book to including works by third (final) year graphic design students, 1997. Perfect bound book, pages printed on satin coated in two colours (black and silver). 4pp card cover printed black and silver external, inside covers printed full colour.university of ballarat, federation university, graphic design, ben mangan, russell kerr, luke keys, travis prices, karen grinter, rosie busuttil, peter horvat, felix lee, karl chandler, matt bowman, adam laszczuk, narelle pietsch, natasha pietsch, jenny tyquin, helmut stenzel

Main Stream Melbourne - The River Yarra on film (Screen Sound Australia, 2004) and The Prize (Eltham Films, Tim Burstall ,1960) Combining footage from more than 90 early newsreels, documentaries and short films which additionally features almost 200 photographs and illustrations - shows locals fishing and swimming in the river, holding canoe races and lazing at boathouses. Also included is Tim Burstall's 1960 short film, The Prize, which tells the story of a boy, played by his then six-year-old son Tom, and his adventures with a kid goat. The film, shot on the Yarra, won a bronze award at the 1960 Venice Film Festival. Of specific interest, scenes from Warrandyte, Montsalvat footage from 1965, Heidelberg School Artists' Trail, Koornung School (1947) in North Warrandyte, Tim Burstall and The Prize (1960) with scenes on Brougham Street Bridge, and Yarra River scenes at Morrison's Breakwater at Eltham and the Bend of Isles at Kangaroo Ground.VHS Video cassette, 130 minutes. Converted to MP4 file format 02:16:11, 1.54GBthe prize (film), tim burstall, yarra river, warrandyte, brougham street bridge, montsalvat, bend of islands, heidelberg school artists trail, koornong school, morrisons breakwater, video recording

The item was brought back from Peace Monitoring in Bougainville by Phillip Chapman Australian Army.Peace monitoring flag Bougainvillea, orange with white trim. A white dove holding black laurel branch on green Bougainvillea Island map, blue water in background. Peace Monitoring Groupflags, military, peace keeping force

Document listing the film production details: CREW: Director:Tony Ayres Writers: Tony Ayres Producer: Salli Engelander Dir. of Photography: Michael Williams Editor: Jill Holt CAST Guy Hudson ( Roger ) Caitlin Jones Karina Loscher Fiona Ruttelle Cruel Youth was a short film by director, Tony Ayres, filmed in the Mission to Seafarers in 1988.The Mission has always been open to the community and has a tradition of hosting cultural events: shows, concerts, exhibitions, festivals. And with its heritage feature is also a sought after filming location.Movie production details printed in black ink on a A4 paper (double sided).cultural events, filming location, cruel youth, tony ayres, big and little films, screen guide, salli engelander, michael williams, jill holt, guy hudson, caitlin jones, karina loscher, fiona rutelle

Plaque, Silver coloured art work 23 x 15 mm affixed to 18 x 25 mm rectangular wooden board./ Artwork de[picts badge of 1 NZ Scottish RegimentMakers label on backplaque, plaque

This book bears the names of Linda Mathieson and Nullawarre State School. The Mathieson families were early settlers in the Warrnambool area at Woodford and Purnim and later in the Nullawarre district. Nullawarre State School was opened in 1875 with members of the Mathieson family being foundation pupils. It still operates today.This book is of interest because of its connection to the Mathieson families of Nullawarre and to Nullawarre State School.This is a hard cover book of 92 pages. It contains many short articles, over 80 illustrations and advertisements at the back of the book for other books published by T. Nelson and Sons. Some of the illustrations have been hand-coloured. The cover is buff-coloured with ornamental patterns and an image of a family watching a slide show outlined in dark red. The lettering on the cover and spine is in black, red and brown tonings. The inscription is handwritten in black ink. ‘Nullawarre S.S. Linda Mathieson, 14.4.23’. linda mathieson, nullawarre state school

Compact Disc (CD Rom) of student work promoting graduating Graphic Design class of 1997. The interactive/multimedia CD Rom was developed using Macromedia Director 5.0. 3.5Mb of data. (Date of disc is mis-embedded as 2040.) Lecturer, Helmut Stenzel.Compact disc (CD Rom) featuring work of third year Graphic Design graduates, 1997. Printed single colour black one sided on silver disc, clear plastic sleeve.university of ballarat, federation university, graphic design, ben mangan, russell kerr, luke keys, travis prices, karen grinter, rosie busuttil, peter horvat, felix lee, karl chandler, matt bowman, adam laszczuk, narelle pietsch, natasha pietsch, jenny tyquin, helmut stenzel

8 week course presented by Paul O'Brien at Diamond Valley Learning Centre, commencing 7 pm, 30 September 2015.Coloured brochure, 1 p.paul o'brien, acting

Saara Lamberg, a Briar Hill local and filmmaker is hoping to raise enough funds to create her film "Innuendo" which won a bronze award at the Beverley Hills Screenplay Contest. She would like to film in the Diamond Valley and is working with chainsaw artist Leigh Conkie.News article, 2 pages, text and colour images.saara lamberg, leigh conkie, innuendo, film making

Purchased through the Horsham Art Gallery Trust Fund, 1978