Showing 73 items matching slips
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Melbourne Tram Museum
Document, Beaumaris Tramway Company Limited - Rules for Drivers
Copy of a document from an original source, handwritten and partly typed. Provides 70 different rules or instructions to the drivers of horse trams for the Beaumaris Tramway Company Limited - what they "MUST" do, personal behavior, tickets, ticket punches, instructions with regard to trip slips, handling of the Ticket Punch Register device and tramway operations.Yields information about the rules for tram drivers for the Beaumaris Tramway Co. Ltd.Blue paper, typed notes, six sheets, titled Beaumaris Tramway Company Limited - Rules for Drivers - three duplicate sheets of pages 4 to 6.Each of the first six sheets have a pen mark signifying, that it has been retyped.tramways, trams, beaumaris tramway co. ltd, horse trams, ticket punches, instructions, rules, behaviour -
Kiewa Valley Historical Society
Seal Skins Ski Straps / Soles
Seal skin straps and webbing were introduced into the Victorian Alps by European skiers. Enthusiasts travelled to enjoy the snow and to explore the Victorian Alps including the Bogong High Plains. This equipment enabled them to travel over snow without slipping when going up hills. They took the skins off when they wanted to slide down hills. In later years, waxes were used for cross country skiing and then 'fish tail' markings on the back of skis to enable skiers to travel distances up and down mountains. Later developments also included motor transport (replacing horses to get to the snow line) and roads to take skiers to the ski fields and mechanised tows to take skiers up mountains so they could ski down (downhill skiing). Skate skiing has also developed as another form of skiing.Skiers visited the Bogong High Plains during summer and winter to explore and enjoy the High Plains. The equipment used was a forerunner to the variety used today and the different types of skiing done today. Falls Creek was developed during the construction of the Kiewa Electric Hydro Scheme and was influenced by the number of Europeans working on the scheme and their desire to make use of the snow during winter.Each Seal skin has: Seal skin sewn onto one side of a strap of webbing. There is a webbing loop on the front that slips over a small point at the front of the ski. There is a webbing strap attached to the back of the seal skin sole coming over the back of the ski that clips metal fasteners onto a loop of webbing behind the boot.skiing. snow. high plains. seal skins. cross country skiing. alpine sports. -
Greensborough Historical Society
Administrative record - Membership form, Thomastown Golf Club et al, Thomastown Golf Club. [Affiliated Clubs' membership forms], 1996
Forms distributed by Thomastown Golf Club to Affiliated Clubs for interclub competition. These are clubs that do not have an associated golf course, mainly social clubs. These include clubs from Montmorency RSL, Dunlop Olympic Golf Club Wallan, Eltham RSL Social Club, etc. These slips were found in Secretary Robert Jones' 1996 diaryThomastown Golf Club was a social club formed in 1976. This is part of the Robert (Bob) Jones collection of Club memorabilia.Thomastown Golf Club. [Affiliated Clubs' membership forms]Handwritten and typed forms.thomastown golf club, bob jones, social golf -
Stawell Historical Society Inc
Photograph, Grampians Community Health Centre photo of Rev David Fotheringham
B/W copy from Grampians Community Health Centre Book Rev Fotheringham is wearing striped shirt and trousers with a belt. Holding a frame over a tub. Background is brickwork, mirror on top of cupboard, painting on right hand wall and clothes line. In foreground two pillow slips hanging onclothes line. Tea chests with items on top. -
Melbourne Tram Museum
Booklet, Charles Taylor, "Know where you are going and when to alight - Tram Routes", 1938
Booklet - listing all the Melbourne tram routes including cable trams and buses, times of the first and last cars providing a street by street for each tram or bus route passes including a description of the route. Has pasted in slips of paper for routes 40 changes and route 62. Based on the cable trams and the route changes dated to 1938. Compiled by Charles Taylor with the authority of the MMTB.Demonstrates compilation of a route description bookletBooklet - 40 pages + blue coloured light card paper with a stippled finish, centre stapledtramways, trams, buses, cable trams, tram routes, melbourne -
Port Melbourne Historical & Preservation Society
Document - Papers, Handwritten notes recording Nott Street School Old Boys who served in WWI, Port families, 1917 - 1920
Information from these notes is entered into 1931.03, temporary Honor Roll, but not into the larger (.01) Roll of Honor Book - apparently an unfinished project. This material was hidden within the large wooden Honor Board now in the foyer of Port Melbourne Town Hall.Nott Street Old Boys Honour (Honor) Roll: Several dozen notes handwritten on various slips of paper and sent by families of boys who served in WWI, to the school for inclusion into 1931.01 and .03. Some give details of medals, deaths etc. Among these are .05 - a letter from Miss HOPKINS and tickets for .06- State School benefit and .07 - "A Picture Show" and a scribbled order of service.war - world war i, education - primary schools, nott street state school, eleanor hopkins -
Robin Boyd Foundation
Book - Exercise Book, Mandie Eckersley (nee Boyd), c. 1967
Robin Boyd’s desk cupboard contained two exercise books (D482.1-D482.2) and assorted articles, essays and other material regarding Sydney Opera House (P1378.01-P1378.36, D179-D181, D479-D480), inserted inside the front cover of Walkabout Magazine July 1966 (P1377). Robin Boyd asked Mandie Eckersley (nee Boyd), his eldest daughter, to research the Sydney Opera House for him in the Mitchell Library, both before and after Utzon left. Robin was writing a book, but was very disillusioned with the way the entire saga unfolded. Mandie Boyd recalls: “It was a huge task because he wanted any mention at all in any publications to be noted. No one else had done it at that stage, not even the clippings service.” This second (and final) volume is filled with transcriptions on newspaper articles, editorials and letters to the editor covering the period 1962 to 1966 when Utzon quits. The Reding Universal Exercise Book, filled to pp 0-48 and p 92Written on front cover: "Mandie Eckersley, 19 South Street, Edgecliff. NSW." In exercise book: handwritten notes. On back cover: list of dates from 1966-1977. Inserts in page 41: Public Library of New South Wales photocopying service receipts dated 8-2-67. Public Library of New South Wales Applications slips for books from stack.sydney opera house, jorn utzon, sydney opera house project -
Bendigo Military Museum
Mixed media - ARCHIVAL BOX - GRINTON COLLECTION, Miss Jean Grinton, Photographs and Ephemera 1916 - 1919 and Folder c. 2009
Items relate to Jack Grinton No 1043, 38th Batt AIF. The postcards document Grinton's visits to various UK, French and European sites of interest. The ephemera in the last section include booklets, sketches, souvenirs, programmes, paper money, photo wallets, letters, pay slips and Grinton's discharge certificate. Part of the Grinton Collection which included hundreds of negatives and developed photos taken by Jack Grinton during WW1. Refer Cat No 1280 for service details. See also 1291.2P and 4528.2P. Black three ringed plastic folder in a rectangular black plastic box. Folder is divided into labelled sections each of which contains a number of postcards and assorted ephemera. Postcards and ephemera are housed in clear plastic pockets. A handwritten label is taped to the spine of the box..1) Each section divider is labelled in blue ink: 'P/Cs CAPE TOWN', 'P/Cs ENGLAND & SCOTLAND', 'P/Cs FRANCE & EUROPE', 'ASSORTED EPHEMERA' .2) On spine label handwritten in blue ink: 'POSTCARDS - Sth AFRICA, UK, FRANCE, ASSORTED EPHEMERA, JEAN GRINTON'. 38th battalion, books - albums, western front, john 'jack' grinton, grinton collection -
Melbourne Tram Museum
Slide - Black and white - reproduction - Carlton cable tram and crews
Reproduction slide of a photograph of a cable tram, trailer number 201, with the destination or Carlton with the grip man and conductor standing in front of the tram. Both are young men. The conductor is adorned with his safety pins and trip slips, that he would punch a hole in when he sold or collected a fare. The bell punch in the conductor's right hand would sound a bell to indicate the fare had been collected. There is a church vicarage in the background - at Prahran terminus in Chapel Street outside Trinity church.Demonstrate cable tram uniforms and cable tram trip slips that were used to account for fare collection.Kodachrome cardboard duplicate slide - Black and white - reproduction - Carlton cable tram and crews - 1910s? "CB7" in penciltrams, tramways, cable trams, carlton, bell punch, unifoms, crews, grip men, conductors, prahran, tram 201 -
Melbourne Tram Museum
Slide - Colour - reproduction - Smith St Collingwood from Johnston St - c1900
Reproduction slide of a coloured postcard showing a cable tram in Smith St Collingwood, south of Johnston St. Has a Clifton Hill bound cable tram in view. The conductor with trip slips appears to be walking forward to check for cable trams in Johnston St as required by the rules. Passengers are alighting from the tram. Shops are E Wardrop, W Luge, Booth Chemist and Dentist, and in the far distance is a Moran and Cato store. Many of the shop awnings have been lowered. Yields information about Smith St Collingwood and cable tram operations.Kodachrome cardboard duplicate slide - Colour slide - reproduction - Smith St Collingwood from Johnston St - c1900 "CB20" in penciltrams, tramways, cable cars, cable trams, collingwood, smith street -
Bendigo Military Museum
Manual - MANUALS, CEREMONIAL, British War Office, 1. Manual of Ceremonial 1935. 2. Ceremonial 1950 Provisional, 1935
See Swatton cat 6719.21. This is a pocket sized booklet. Cover is red buckram. printing in black ink. Inside are printed descriptions of drill movements for ceremonies. It also has B & W photos of a soldier demonstrating funeral (?) positions and paces. It has 171 pages plus end plates. There are some modification slips glued in there. 2. This is a khaki coloured, covered pocket book. It has the Crest of Great Britain top centre. In the centre is the title and above that is supersedes 1935 edition.1. Inside front cover, written in ink is V59401 Col. J.W. Swatton, 4 Div. On first page it looks like the original owner's name has been cut out. 2. On rear cover is a sticky label "On loan from the Estate of Colonel J.W. Swatton.passchendaele barracks trust, booklets drills and ceremonial -
National Vietnam Veterans Museum (NVVM)
Booklet - Australian Soldier's Pay Book, Swainston
Brown vinyl covered Australian Military Forces Soldier's Pay Book ( 48 pages with crest on front cover) issued to Neil Ernest Swainston on 21/04/1971, Cash Office 30, Paymaster Wendy A Sherwell. Details of payments made are written in pen.Inside front cover lists 'Instructions to Soldier'; back cover has pocket containing green-printed Paybook Variation Authority slips. Small ID photo of Private Swainston stapled to page 48.Hand-written in black marker pen:S16/ Army No. 3801127/ Swainston Neil Ernestpayments, national service - australia -
Bendigo Military Museum
Administrative record - BOOK, SOLDIERS PAY, Australian Military Forces, 23.4.1969
Peter Ball was conscripted for two years National Service beginning on 23.4.1969 Regt No 3796117. Postings, Recruit Training Puckapunyal Vic, Infantry Corp Training Singleton NSW, Infantry Corp Reinforcement Wing Ingleburn NSW, Jungle Training Centre Canungra QLD 3 weeks, ankle injury 5.9.69, return to Ingleburn, Basic Signals Course Ingleburn 5.11.69 - 10.12.69, Volunteered for service Vietnam, passed medically fit, fly out 3.3.1970 for Saigon, posted to Reinforcement Wing Nui Dat for 3 weeks acclimatisation training, posted to 6 Pl B Coy 8 RAR 25.3.70, embark HMAS Sydney for Australia 1.11.70, disembark Brisbane 12.11.70, posted to Enogerra Barracks Brisbane, posted to Vic Barracks Melbourne 5.3.1971 for discharge, posted to Sale 2 weeks with CMF fortnight Camp, discharged from the Army 23.4.1971 with the rank of PTE. Enlist in the CMF Geraldton WA in A Coy 16 RWAR on 24.6.1978 same Regt No, discharged re interstate transfer on 18.2.1981, rank L/Cpl.Pay Book No C 23443, brown covers with green tape on binding, print in black on front, hand written in black texta, white label on with hand writing in blue pen, 40 pages with entries in blue & red hand writing, large purple “DISCHARGED” stamp on many pages, rear page has a yellow envelope taped on with 3 X “Pay Book variation Authority” slips in, off white, layout in green, typing in black with red hand written items on, rear page cover has photo of a soldier with name, rank and date onFront cover in texta, “3796117 BALL PETER CHARLES”, date stamp on page 1 “23 APR 1969”, rear page photo date has ,”26.4.69”. Pay book Variations Authorities dated, “14.12.70, 14.12.70, 15.12.70” pay books, administrative record, soldiers -
Federation University Art Collection
Ceramic, 'Stoneware Jar' by Victoria Howlett, c1982
Victoria HOWLETT (b. 1945- ) Born London, United Kingdom Arrived Australia 1946 Victoria Howlett studied Ceramics at RMIT. She lectured at Prahran College for several years before travelling to Canada, The United States of America, Mexico, Africa and England. She began working as a potter full time in 1977, establishing a studio in Melbourne. In 1985 Victoria Howlett won the Stuart Devlin Award, Melbourne. She is a practicing artist in Apollo Bay, Victoria. The ceramic work of Victoria Howlett draws on the Oribe tradition of painted surface designs. During the 1980s, she moved from rounded vessels and lidded jars to the platter as the form to be decorated, using a well-charged brush and slips coloured with oxide. Wheel thrown stoneware jar with dipped and painted glaze decoration. The ceramic works of Victoria Howlett are impressed 'TOR' or painted or incised 'Victoria Howlett'. This work is part of the Jan Feder Memorial Ceramics Collection. Jan Feder was an alumna of the Gippsland Campus who studied ceramics on the campus. She passed away in the mid 1980s. Her student peers raised funds to buy ceramic works in her memory. They bought works from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught there. Victoria Howlett was a visiting lecturer to the Gippsland Institute of Advanced Education Gift of the artistvictoria howlett, ceramics, gippsland campus, jan feder memorial ceramics collection -
Glen Eira Historical Society
Document - Banks in Caulfield
This file contains two items. 1. A hand written list of branches of the English, Scottish and Australian Bank Limited and its merger the Australia and New Zealand Banking Group Limited, undated and author unknown. The list records the opening dates of branches in Carnegie, Caulfield East, Caulfield South, Elsternwick, Glen Huntly, Murrumbeena, Ormond, Garden Vale, Caulfield and Caulfield West encompassing years from 1886 to 1927, listing also the merger of the two banks as being in 1970 as well as 1852 as being the founding year of the English, Scottish, and Australian Bank Limited. 2. Three identical Elsternwick State Savings Bank withdrawal slips, from the 1910s. All three are blank, and include brief directions for filling in the slip typed at the bottom. Also included on the slip is a decorative illustration.banks, banks mergers, bank deposits, bank withdrawals, documents, banking, pass books, business and finance, annual reports, bank equipment, commercial equipment, bank branches, carnegie, carnegie koornang road 86, caulfield east, caulfield east derby road 9, caulfield south, caulfield south glen huntly road 790, elsternwick, elsternwick glen huntly road 324, elsternwick glen huntly road 426, glen huntly, glen huntly glen huntly road 1173, murrumbeena, murrumbeena murrumbeena road 59, ormond, ormond north road, ormond north road 553, garden vale, caulfield, caulfield west, caulfield hawthorn road 242, commercial establishments, the state savings bank of victoria, the state savings bank of victoria elsternwick branch, the english scottish and australian bank limited, the australian and new zealand bank limited, the australian and new zealand banking group limited -
Flagstaff Hill Maritime Museum and Village
Financial record - Bank Deposit Book, Commercial Banking Company of Sydney Limited, Pre Jan, 1932
This bank deposit book was used for financial deposits made between1932 and 1936. The funds were deposited into the Emergency Account of the Warrnambool Harbour Board, lodged at the Warrnambool Branch of the Commercial Banking Company of Sydney Limited (CBC). James Menzies, Pilot and Harbour Master from 1929, would have used this deposit book when he was appointed as Acting Secretary of the Warrnambool Harbour Board in 1932. He held this office until the Board ceased in 1936. Warrnambool’s CBC Manager during this time was L E Whitney; he was Manager from 1924 to 1939. The Commercial Banking Company of Sydney Limited opened in 1893. On January 1, 1927 the CBC amalgamated with the Bank of Victoria. In 1981 the CBC merged with the National Bank of Australasia Limited and on January 1, 1983 the bank started using the abbreviated name of the National Australia Bank (NAB). Warrnambool Harbour Board The Warrnambool Harbour Board was constituted by Order of Council on May 29, 1928, under the Harbour Board’s Act of 1927, taking over from the Ports and Harbours Branch of the Public Works Department of Victoria. The Board was then the only body with power to manage and control the whole Port, including shipping, facilities upkeep and improvements of the port. The work it carried out involved dredging, building of port facilities and drafting of port regulations, and collecting taxes, tolls, rates and charges. The Board was officially dissolved on June 30, 1936, at which time the Public Works Department again had control. The Warrnambool Harbour Board had rented out the Lighthouse Keeper’s Quarters from the 1920s until 1936, when the Board closed down. However, rentals continued with other currently unknown landlords until Flagstaff Hill Maritime Village opened in 1975 and began renovating the Cottage, in stages. This financial record book is significant for its association with the historic financial records of the Warrnambool Harbour Board and relates to the maritime history of Warrnambool, in particular with the Port of Warrnambool.Warrnambool Harbour Board Emergency Account Book containing deposit receipts and blank forms for the Commercial Banking Company of Sydney Limited. Rectangular book has buff coloured card covers, white pages with pre-printed text and lines and black tape binding on left side. Inscriptions stamped on front cover, receipts and unused, pre-printed pages. Approximately half of the pages have been filled in, and the deposit slips removed, leaving the receipt end attached to the book. There are two lose receipts stapled into the book. Hand written receipts date from 21 JAN 1932 to 25 JULY 1936. Stamped "WARRNAMBOOL HARBOUR BOARD / EMERGENCY ACCOUNT" "WARRNAMBOOL VIC" "EMERGENCY ACCOUNT / WARRNAMBOOL HARBOUR BOARD" Also, each receipt has the bank's stamp with its details and the date on it. Hand written details are on each completed receipt.warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, book, warrnambool harbour board, emergency account, commercial banking company os sydney ltd, bank deposit book, financial record, financial management, stationery, deposit book, public works department, ports and harbours, commercial banking company of sydney ltd., james menzies, harbour master, l e whitney, cbc manager warrnambool, harbour board act, port of warrnambool, warrnambool harbour, lady bay, harbour pilot -
Otway Districts Historical Society
Photograph, Brucker, Beech Forest: Locomotive 5A during construction, c.1902
In 1898 a recommendation for a railway of 2 ft 6 in gauge was handed down by the Parliamentary Standing Committee on Railways, to cost $138,000. Construction began in 1900. About 100 men were engaged in laying and ballasting the track while others, not included in the 100, formed the earthworks, culverts and bridges. Locomotive operations initially were two 2-6-2 Tank engines of the narrow gauge A class, dubbed "Coffee Pots", and these were used on the work trains between 1900 and 1902. Because of the lengthy periods of waiting time required to unload sleepers and rails or to load ballast meant that a handy replenishment of coal and water supply was necessary. With earthworks specified to the bare minimum landslips in the narrow cuttings were frequent so a repairer was stationed in each length to deal quickly with minor slips until 1904 when the cuttings were widened.B/W. The driver and seven other men on locomotive 5A and its flat cars at Beech Forest during construction of the line in c.1902. beech forest; railways; loco 5a; -
Melbourne Legacy
Film, Legacy Junior Girls 1958, 1958
Black and white film showing Legacy girls at Legacy House in 1958 rehearsing for a demonstration. Shows Enez Domec Carre instructing them, and an unidentified woman (possibly Miss Williams) giving them elocution lessons with the aid of a blackboard and a reel to reel tape recorder. She does not remove her hat and coat. The film starts with the girls assembled in rows with bowed heads as if they are listening to a prayer. Two Legatees mark a roll book as the girls file past them in the gym. They are wearing gym slips with a Junior Legacy Club logo patched onto the chest. They rehearse both dancing and singing. Black and white with no sound. 7 mins 8 secs. This film has been digitised to preserve its content. Melbourne Legacy gratefully acknowledges the support of the Victorian Government and Public Record Office Victoria for making this possible.A backstage look at the work which went into producing the annual demonstration in 1958.Silver metal canister with a film about Junior Legacy Girls on a metal spool.Handwritten into the canister lid, 'Legacy Junior girls 1958'. / Handwritten on spool, Legacy Junior Girls 1958. / Canister base, Lon P, Legacy Junior Girls 1958. /Canister base interior, ABV-2 Legacy ABV-2 Junior Girls 1958. girls' classes, annual demonstration, enez domec carre -
Ballarat Tramway Museum
Manual, TIM - Ticket Issue Machines (Australia) and Bentleigh, "Ticket Issue Modernised", c1950
Twelve page book printed on off white paper, side stapled and titled "Ticket Issue Modernised". Details the TIM system, benefits, uses, sample tickets, components, examples of use, TIM "Major" for long distance routes, use for admission tickets, packing slips, cash receipts etc along with sample tickets, costs, cancellation punch and servicing. On the rear has a list of British Transport undertakings using the system and other users. Printed in Australia, c1950; appears to be an Australian version of the English document. See page four for a photo of "The first Australian fleet to be fitted with "TIM" machines" - thought to be Eastern Suburbs Omnibus Services Pty Ltd, Melbourne.On front cover as shown in the photo, receipt stamped of 28 March 1951 and distribution lists.trams, tramways, tickets, ticket machines, buses -
Ballarat Tramway Museum
Manual, TIM - Ticket Issue Machines (Australia) and Bentleigh, "Ticket Issue Modernised", c1950
Sixteen page book printed on off white paper, with card cover, side stapled and titled "Ticket Issue Modernised". Details the TIM system, benefits, uses, sample tickets, components, examples of use, TIM "Major" for long distance routes, use for admission tickets, packing slips, cash receipts etc along with sample tickets, costs, cancellation punch, canceler and servicing. On the rear has a list of British Transport undertakings using the system and other users. On front cover has the stamp of "MdC Engineering Supplies Pty Ltd of 113 Queen St Melbourne". Printed on front cover is TIM UK company details. Full scan of document added as a pdf file 5/6/2019.On front cover has the stamp of "MdC Engineering Supplies Pty Ltd of 113 Queen St Melbourne"trams, tramways, tickets, ticket machines, buses -
Flagstaff Hill Maritime Museum and Village
Ceramic - Floor Tile, circa 1878
This Minton floor tile is from the wreck of the Loch Ard and is currently on display in the Great Circle Gallery at Flagstaff Hill. The iron hulled clipper ship from the Loch Line was heading for Port Phillip from London, when it ran into the cliffs of Mutton Bird Island near Port Campbell. The Loch Ard was laden with a high value cargo including luxury goods intended for display at the Melbourne International Exhibition in 1880. One notable survivor from the ship’s freight manifest was the well packed Minton porcelain peacock, a two meter high ceramic masterpiece of vivid glazed colours. (This is also on display in the Great Circle Gallery). The almost total loss of life and property from the Loch Ard registered as a shocking tragedy for the Colony of Victoria, at a time when social confidence and economic optimism were otherwise high. Wealth generated from Gold and Wool was increasingly being spent on grandiose private residences and imposing public buildings. The demand for quality furnishings and fittings was therefore strong. Among the products consigned to burgeoning colonial markets by the Milton pottery at Stoke upon Trent, were their new range of colourfully patterned but very durable floor tiles ideal for the high-traffic spaces in the large civic buildings then being constructed in Australia and America. These new floor tiles were “encaustic”, meaning that their designs and colours were encased “within” the depth of the tile. Rather than their decorative patterns being glazed onto the surface of the tile, their inlaid designs were created during the manufacturing process, as “coloured slips” (or liquid clay) were poured into a deep pre-molded casting. When fired, the resulting tile was colours-fast and design-fast. The Minton floor tile is significant for its hard-wearing yet attractive design. 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 accumulations of artefacts from this notable Victorian shipwreck of which the subject items are a small part. The collections of objects give us a snapshot of how 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. Through is associated with the worst and best-known shipwreck in Victoria's history. A square Minton floor tile with a dark brown, beige and white pattern. The tile has a piece broken off along one side and some chipping along the edges. This ‘encaustic’ floor tile was recovered from the shipwreck of the LOCH ARD. Branded "... MINTON&CO Patent ..."flagstaff hill, warrnambool, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, minton floor tile, encaustic tile, melbourne international exhibition, floor tile -
Flagstaff Hill Maritime Museum and Village
Ceramic - Floor Tile, circa 1878
This Minton floor tile is from the wreck of the Loch Ard. The iron-hulled clipper ship from the Loch Line was heading for Port Phillip from London, when it ran into the cliffs of Mutton Bird Island near Port Campbell. The Loch Ard was laden with high-value cargo including luxury goods intended for display at the Melbourne International Exhibition in 1880. One notable survivor from the ship’s freight manifest was the well-packed Minton porcelain peacock, a two-meter high ceramic masterpiece of vivid glazed colours. (This is also on display in the Great Circle Gallery). The almost total loss of life and property from the Loch Ard registered as a shocking tragedy for the Colony of Victoria, at a time when social confidence and economic optimism were otherwise high. The wealth generated from Gold and Wool was increasingly being spent on grandiose private residences and imposing public buildings. The demand for quality furnishings and fittings was therefore strong. Among the products consigned to burgeoning colonial markets by the Milton Pottery at Stoke upon Trent, were their new range of colourfully patterned but very durable floor tiles ideal for the high-traffic spaces in the large civic buildings then being constructed in Australia and America. These floor tiles were “encaustic”, meaning that their designs and colours were encased “within” the depth of the tile. Rather than their decorative patterns being glazed onto the surface of the tile, their inlaid designs were created during the manufacturing process, as “coloured slips” (or liquid clay) were poured into a deep pre-moulded casting. When fired, the resulting tile was colour-fast and design-fast. The Minton floor tile is significant for its hard-wearing yet attractive design. 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 accumulations of artefacts from this notable Victorian shipwreck of which the subject items are a small part. The collections of objects give us a snapshot of how 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. Through is associated with the worst and best-known shipwreck in Victoria's history. A square Minton floor tile with a white background, and beige, dark blue, light blue and black geometric pattern as well as leaves in the design. The tile has corner broken off and some chipping along the edges. The reverse has five rows of five evenly spaced holes. The back of the tile has inscriptions. Made by Minton & Co. at Stoke upon Trent. This encaustic floor tile was recovered from the shipwreck of the LOCH ARD. Branded "... MINTON&CO / PATENT / STOKE UPON TRENT"flagstaff hill, warrnambool, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, minton floor tile, encaustic tile, melbourne international exhibition, floor tile, minton tile, minton & co., stoke upon trent -
Flagstaff Hill Maritime Museum and Village
Ceramic - Tile, circa 1878
This Minton floor tile is from the wreck of the LOCH ARD. Other examples of this manufacture have been recovered from the wreck site and form part of the collection at Flagstaff Hill. The iron-hulled clipper ship from the Loch Line was heading for Port Phillip from London when it ran into the cliffs of Mutton Bird Island near Port Campbell and was wrecked on the early morning of June 1, 1878. The LOCH ARD was laden with high-value cargo including luxury goods intended for display at the Melbourne International Exhibition in 1880. One notable survivor from the ship’s freight manifest was the well-packed Minton porcelain peacock, a two-metre-high ceramic masterpiece of vivid glazed colours. The almost total loss of life and property from the LOCH ARD registered as a shocking tragedy for the Colony of Victoria, at a time when social confidence and economic optimism were otherwise high. The wealth generated from gold and wool was increasingly being spent on magnificent private residences and imposing public buildings. The demand for quality furnishings and fittings was therefore strong. Among the products consigned to burgeoning colonial markets by the Milton Pottery at Stoke upon Trent were their new range of colourfully patterned but very durable floor tiles – ideal for the high-traffic spaces in the large civic buildings then being constructed in Australia and America. These new floor tiles were “encaustic”, meaning that their designs and colours were encased within the depth of the tile. Rather than their decorative patterns being glazed onto the surface of the tile, their inlaid designs were created during the manufacturing process, as “coloured slips” (or liquid clay) that were poured into a deep pre-moulded casting. When fired, the resulting tile was colour-fast and design-fast.The Minton encaustic floor tile is significant for its method of manufacture which makes it durable as well as decorative. The shipwreck of the LOCH ARD is of State significance. Victorian Heritage Register S417. Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best-known shipwrecks in Victoria’s history.A square Minton floor tile with a black and beige pattern against a white base. This encaustic floor tile was recovered from the shipwreck of the LOCH ARD. On the back, or base, of the tile is inscribed the number “46” and the letters “Minton & Co Patent Stoke upon Trent”.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, mutton bird island, loch ard gorge, minton floor tile, encaustic tile, melbourne international exhibition, floor tile -
Flagstaff Hill Maritime Museum and Village
Textile - Bolster Sham, Eliza Towns, Late 19th century to early 20th century
This bolster sham is one of several linen and clothing items that were made and belonged to Mrs. Eliza Towns and donated to Flagstaff Hill Maritime Museum and Village. Eliza was born Eliza Gould in 1857 in South Melbourne (Emerald Hill) and in 1879 married Charles Towns. In the early 1880's they moved to Nhill in western Victoria and remained there for the rest of their married life. Charles was a jeweller and later became an accountant and for many years was involved with the Shire Council, the local show committee (A & P Society), the Hospital Committee and the Board of the local newspaper (the Nhill Free Press). They had three children and lived a life that would be regarded as comfortably "middle class". Eliza probably had a treadle sewing machine and would have made many of her own clothes and household linens - adding her own handmade embroidered or crocheted decorative trim. Most beds during the late 19th and early 20th century had a feather, hair or spring mattress covered by a blanket and topped with an under sheet, an upper sheet, several blankets and a bedspread. A flat bolster could be placed either under the pillows or on top of the pillows with a decorative sham. Washing pillows and quilts by hand would have been a very onerous task (involving heating water and handwashing in a tub or using a copper) and so it became the practise of many housewives to cover the pillows and bolsters with an outer slip (or sham) of washable material which could be easily removed and washed when needed. If the bolster was kept under the pillows it wouldn't need to be very decorative but many shams or slips that were "on show" were often highly decorated with embroidery, pintucks, ribbons or lace. This bolster sham is machine made and quite plain with the exception of some pintucking and eyelet lace on each end which suggests that it would mostly be hidden under the top pillows with just the decorative edges on display.This item is an example of the needlework skills of women in the early 20th century - combining machine stitching with hand embroidery to personalise and embellish a practical domestic object. It is also significant as an example of an early 20th century innovation that helped make the working lives of housewives a little bit easier.A long white cotton rectangular bolster sham, machine sewn, with seven ties and two buttons (plus one missing button) to enable it to be folded over lengthwise and closed. It has two pull string ties near each end to enclose a bolster and is finished with a decorative edge of pintucks and handmade eyelet lace and embroidery.flagstaff hill maritime museum and village, eliza towns, sham, bedding, great ocean road, shipwreck coast, warrnambool, household textiles, sewing, bolster sham, housework, pillow sham, charles towns, nhill, haberdashery, needlework, manchester, handmade, household linen -
Federation University Art Collection
Ceramic - Artwork - Ceramics, Set of Four Goblets by John O'Loughlin
John O'LOUGHLIN Born Snowtown, South Australia In 1980 John O'Loughlin's life changed when he started wheel throwing ceramic vessels. During this time he discarded the superfluous and unnecessary clutter collected on the journey of life, yet retaining the essence of what mattered to him. John O’Loughlin's later artworks, such as 'Reliquary No. 20' engages with the way in which organised religion, specifically the Catholic Church, deals with the translation of the spiritual into the material. Informed by his extensive travels and studies, O’Loughlin’s ceramics reference the reliquaries and church artefacts that connect the life of this world with that of faith in another world. Completing undergeduate and post graduate works at Federation University John O'Loughlin's honours thesis was entitled "Ways and Means of Meaning, The Use of Symbol and Surface as Expressive Media in Ceramic Sculpture". The University provided a serious ceramic studio equipped with all the research tools for advanced ceramic exploration. Access to raw materials and a variety of kilns combined with excellent lecturers, mentors and technicians inspired, motivated and challenged him to push his accumulating knowledge to higher levels. O'Loughlin's working method in the studio is one of quiet, determined interaction with clay, idea and content. Experimentation with a variety of temperatures, firing methods and atmospheric conditions has produced a broad tonal and textural palette. He has worked with various clay bodies overlaid with coloured oxides, slips and engobes as the foundation for many of his works. O'Loughlin ufilised raised surfaces from old cemetery tombstones using the impressed forms and textures in his constructions. This research led him to the use of dry engobes to create a sense of antiquity, with crusty and distressed surfaces that resemble objects neglected in the oceans. These objects seem covered with the accretions and accumulations of history when re-discovered and brought to the surface as miraculous objects of mystery and magic. (https://www.thefreelibrary.com/John+O%27Loughlin%3A+a+man+re-invented.-a0216897107, accessed 12 September 2020) This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Four wheel thrown goblets, two with decorative stems. art, artwork, john o'loughlin, ceramics, goblets -
Federation University Art Collection
Ceramic - Artwork - Ceramics, 'Reliquary No. 20' by John O'Loughlin, 2007
John O'LOUGHLIN Born Snowtown, South Australia In 1980 John O'Loughlin's life changed when he started wheel throwing ceramic vessels. During this time he discarded the superfluous and unnecessary clutter collected on the journey of life, yet retaining the essence of what mattered to him. John O’Loughlin's later artworks, such as 'Reliquary No. 20' engages with the way in which organised religion, specifically the Catholic Church, deals with the translation of the spiritual into the material. Informed by his extensive travels and studies, O’Loughlin’s ceramics reference the reliquaries and church artefacts that connect the life of this world with that of faith in another world. Completing undergeduate and post graduate works at Federation University John O'Loughlin's honours thesis was entitled "Ways and Means of Meaning, The Use of Symbol and Surface as Expressive Media in Ceramic Sculpture". The University provided a serious ceramic studio equipped with all the research tools for advanced ceramic exploration. Access to raw materials and a variety of kilns combined with excellent lecturers, mentors and technicians inspired, motivated and challenged him to push his accumulating knowledge to higher levels. O'Loughlin's working method in the studio is one of quiet, determined interaction with clay, idea and content. Experimentation with a variety of temperatures, firing methods and atmospheric conditions has produced a broad tonal and textural palette. He has worked with various clay bodies overlaid with coloured oxides, slips and engobes as the foundation for many of his works. O'Loughlin ufilised raised surfaces from old cemetery tombstones using the impressed forms and textures in his constructions. This research led him to the use of dry engobes to create a sense of antiquity, with crusty and distressed surfaces that resemble objects neglected in the oceans. These objects seem covered with the accretions and accumulations of history when re-discovered and brought to the surface as miraculous objects of mystery and magic. (https://www.thefreelibrary.com/John+O%27Loughlin%3A+a+man+re-invented.-a0216897107, accessed 12 September 2020) This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Lidded ceramic form.art, artwork, john o'loughlan, ceramics, available, available ceramics -
Federation University Art Collection
Ceramic - Artwork- Ceramic, Blue Goblet by John O'Loughlin
John O'LOUGHLIN Born Snowtown, South Australia In 1980 John O'Loughlin's life changed when he started wheel throwing ceramic vessels. During this time he discarded the superfluous and unnecessary clutter collected on the journey of life, yet retaining the essence of what mattered to him. John O’Loughlin's later artworks engages with the way in which organised religion, specifically the Catholic Church, deals with the translation of the spiritual into the material. Informed by his extensive travels and studies, O’Loughlin’s ceramics reference the reliquaries and church artefacts that connect the life of this world with that of faith in another world. Completing undergeduate and post graduate works at Federation University John O'Loughlin's honours thesis was entitled "Ways and Means of Meaning, The Use of Symbol and Surface as Expressive Media in Ceramic Sculpture". The University provided a serious ceramic studio equipped with all the research tools for advanced ceramic exploration. Access to raw materials and a variety of kilns combined with excellent lecturers, mentors and technicians inspired, motivated and challenged him to push his accumulating knowledge to higher levels. O'Loughlin's working method in the studio is one of quiet, determined interaction with clay, idea and content. Experimentation with a variety of temperatures, firing methods and atmospheric conditions has produced a broad tonal and textural palette. He has worked with various clay bodies overlaid with coloured oxides, slips and engobes as the foundation for many of his works. O'Loughlin ufilised raised surfaces from old cemetery tombstones using the impressed forms and textures in his constructions. This research led him to the use of dry engobes to create a sense of antiquity, with crusty and distressed surfaces that resemble objects neglected in the oceans. These objects seem covered with the accretions and accumulations of history when re-discovered and brought to the surface as miraculous objects of mystery and magic. (https://www.thefreelibrary.com/John+O%27Loughlin%3A+a+man+re-invented.-a0216897107, accessed 12 September 2020) in 2007 John completer a Masters at the University of Ballarat. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Botanical inspired wheel thrown goblet with decorative incised leaves on stem and flower head shaped cup. Glazed 'JOL' on bottom.art, artwork, goblet, botanical, ceramic, john o'loughlan, alumni -
Flagstaff Hill Maritime Museum and Village
Book - Tatting craft book, Paragon Art Needlecraft Pty Ltd, Tatting Designs, circa 1940's
Tatting is a form of knotted lace making using thread and a small shuttle. Twisted threads are tied around or through small, pointed shuttles that can be made of bone, mother of pearl, tortoise shell, steel or plastic. This produces a stable, strong lace using simple knots of two half hitches to make rings and chains embellished with picots. The origins of tatting are not clear but early versions of decorative knotting were used by the Egyptians on their ceremonial dress. Tatting also has elements of fishermen's net making techniques and the decorative knotting that was practiced by aristocratic women from the 15th century. Tatting, as we know it today, emerged in the first half of the 19th century. The new availability of mercerised thread from 1835 encouraged a burgeoning of lace crafts of all sorts. It was known in Italy as "occhi" and in France as "la frivolite". It looks fragile but is both strong and durable. An article in a column named "Wives and Daughters" published in the Star newspaper in May 1910 describes the durability of tatting lace - "there is edging and insertion still in existence that have outworn two sets of pillow slips." In the 19th century and well into the 20th century, tatting was used like crochet and knitted lace for decorative edgings, collars, doylies, tray cloths etc. At first, different tatting patterns were passed along by word of mouth from person to person, however in time, patterns regularly appeared in newspapers and magazines well into the 1950's. Paragon knitting, crochet and tatting books have been distributed throughout Australia since the 1930's, originally by "Paragon Art Needlework Pty Ltd" of Sydney, N.S.W. From 1946 these books were designed and printed in Australia from patterns provided by British and Australian thread companies. Consequently these patterns may also appear in similar British and American publications. Paragon Book No. 104 is an instruction book designed for the "beginner" whilst Paragon book No. 105 is designed for the more experienced tatter. The layout of these books was typical of the 1940s period when paper was in short supply. Most of the pattern books were approximately 18 cms wide by 24 cms high and some were smaller at about 13cm by 21 cms. The type used was small (about four lines of text per centimetre) which was difficult to read. This item is an excellent example of a needle work pattern book available to women in the 1940's in Australia.A soft covered, 16 page instruction book titled "Tatting Designs". It has black and white photographs and detailed patterns for tatted doilies, a tray mat, a chairback and arm rests, a cheval set, a luncheon set, collars and edgings for an underskirt, gloves and handkerchief. It is published by Paragon Art Needlecraft of Sydney.Front cover - "Paragon's No 105" "PRICE 1/3" "Tatting Designs" "Household Linens * Personal Wear" Plus a stylized drawing of a deerflagstaff hill maritime museum and village, great ocean road, warrnambool, shipwreck coast, tatting book, tatting patterns, craft, handiwork, handcraft, needlework, shuttle -
Flagstaff Hill Maritime Museum and Village
Book - Tatting craft book, Paragon Art Needlecraft Pty Ltd, Learn to Tat, circa 1940's
Tatting is a form of knotted lace making using thread and a small shuttle. Twisted threads are tied around or through small, pointed shuttles that can be made of bone, mother of pearl, tortoise shell, steel or plastic. This produces a stable, strong lace using simple knots of two half hitches to make rings and chains embellished with picots. The origins of tatting are not clear but early versions of decorative knotting were used by the Egyptians on their ceremonial dress. Tatting also has elements of fishermen's net making techniques and the decorative knotting that was practiced by aristocratic women from the 15th century. Tatting, as we know it today, emerged in the first half of the 19th century. The new availability of mercerised thread from 1835 encouraged a burgeoning of lace crafts of all sorts. It was known in Italy as "occhi" and in France as "la frivolite". It looks fragile but is both strong and durable. An article in a column named "Wives and Daughters" published in the Star newspaper in May 1910 describes the durability of tatting lace - "there is edging and insertion still in existence that have outworn two sets of pillow slips." In the 19th century and well into the 20th century, tatting was used like crochet and knitted lace for decorative edgings, collars, doylies, tray cloths etc. At first, different tatting patterns were passed along by word of mouth from person to person, however in time, patterns regularly appeared in newspapers and magazines well into the 1950's. Paragon knitting, crochet and tatting books have been distributed throughout Australia since the 1930's, originally by "Paragon Art Needlework Pty Ltd" of Sydney, N.S.W. From 1946 these books were designed and printed in Australia from patterns provided by British and Australian thread companies. Consequently these patterns may also appear in similar British and American publications. Paragon Book No. 104 is an instruction book designed for the "beginner" whilst Paragon book No. 105 is designed for the more experienced tatter. The layout of these books was typical of the 1940s period when paper was in short supply. Most of the pattern books were approximately 18 cms wide by 24 cms high and some were smaller at about 13cm by 21 cms. The type used was small (about four lines of text per centimetre) which was difficult to read.This item is an excellent example of a needle work pattern book available to women in the 1940's in Australia.A soft covered 16 page instruction book with black and white photographs and detailed instructions explaining how to tat and eight tatting projects including how to make a collar and handkerchief edgings, published by Paragon Art Needlecraft of Sydney.Front cover - "PARAGON BOOK NO. 104" "PRICE 1/3" "Learn to/ TAT' Back Cover - "36/D5 E/A DO2" - handwritten in pencil flagstaff hill maritime museum and village, warrnambool, great ocean road, shipwreck coast, tatting, tatting pattern book, tatting instructions, handicraft, needlework, shuttle, tatting shuttle, paragon needlecraft, paragon craft book -
Flagstaff Hill Maritime Museum and Village
Tatting Shuttle
Tatting is a form of knotted lace making using thread and a small shuttle. Twisted threads are tied around or through small, pointed shuttles that can be made of bone, mother of pearl, tortoise shell, steel or plastic. This produces a stable, strong lace using simple knots of two half hitches to make rings and chains embellished with picots. The origins of tatting are not clear but early versions of decorative knotting were used by the Egyptians on their ceremonial dress. Tatting also has elements of fishermen's net making techniques and the decorative knotting that was practiced by aristocratic women from the 15th century. Tatting, as we know it today, emerged in the first half of the 19th century. The new availability of mercerised thread from 1835 encouraged a burgeoning of lace crafts of all sorts. It was known in Italy as "occhi" and in France as "la frivolite". Tatting looks fragile but is both strong and durable. An article in a column named "Wives and Daughters" published in the Star newspaper in May 1910 describes the durability of tatting lace - "there is edging and insertion still in existence that have outworn two sets of pillow slips." In the 19th century and well into the 20th century, tatting was used like crochet and knitted lace for decorative edgings, collars, doylies, tray cloths etc. At first, different tatting patterns were passed along by word of mouth from person to person, however in time, patterns regularly appeared in newspapers and magazines well into the 1950's. A shuttle is a small tool that looks like a small boat "sailing" in and out of the thread. Tatting is called "schiffchenarbeit" in German, which means "the work of a little boat". There are two popular types of shuttles. The first has closed ends and a removable bobbin where the thread is wound around - often made from metal or plastic. The second type has a post in the center where the thread is wound. The ends of this bobbin are open but snug. Because it is constructed in two pieces, it can be made from materials like bone, ivory or mother of pearl. Shuttles hold a larger amount of thread (as compared with needles) which means fewer ends to weave in. Fishermen in the past are thought to have used large shuttles to weave cord into certain knots whilst making their fishing nets. Their methods were copied by weavers, who innovated by using threads and smaller shuttles to make lace.Tatting Shuttle, Black plastic, "ARCHER" inscribed. "ARCHER" inscribed.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, tatting shuttle, handcraft, needlework