This printers block was made for the Warrnambool and District Historical Society and used to print letterheads, envelopes and cards. The impression on the block is of the sketch map drawn by Thomas Price of Port Fairy of the Warrnambool Harbour site when he wrote to Superintendent Charles LaTrobe in 1844 regarding the suitability of the site for a new town. The letter is regarded as an important impetus for La Trobe to consider establishing the town of Warrnambool and so the sketch was used by the Historical Society as its logo on letterheads etc for many years. It was also used as the heading for the Society newsletters from the late 1980s to late 2007.This block of the Thomas Price sketch was used by the Historical Society for many years for its printed material and the sketch was used as its logo for about 20 years so it is an important part of the Society’s history and the block is kept as a reminder of this.This is a printing block with an impression made of metal and attached to a wooden block. The wood is in layers of dark and light coloured wood and has a piece cut out at the top left hand corner. The impression is a representation of the sketch map of Warrnambool Harbour made by Thomas Price in 1844.Sketch map of Warrnambool Harbour 1844warrnambool & district historical society, thomas price sketch

Tobacco farming began circa 1960 in the Kiewa Valley and consequently became one of its major industries. Many of the Italian families were involved in tobacco farming.Historical: This equipment was used on one of the first tobacco farms in the Kiewa Valley at Mongans Bridge. The tobacco 'stretcher' was home-made showing the resourcefulness of farmers living in the Kiewa Valley. Provenance: This tobacco farmer came from Italy and was sponsored to visit a tobacco farmer in Myrtleford to learn how to grow tobacco so that he could transfer those skills to his own farm in the Kiewa Valley.The 'stretcher' was used for carrying dry tobacco from kiln to stacking shed and later from stacking shed to the grading benches. 2 tree logs parallel to each other with 2 hessian bags cut into a piece each to overlap down the middle and starched between and held by a plank of wood nailed along at each end. The tree logs are held in position across the middle and behind the hessian by a thick plank of wood.Holes. One piece of hessian has painted in green:- Albury NSW and 5 green rectangles printed on it at the top partly covered by wooden plank.tobacco. mongans bridge. kiewa valley. kiln. shed. parmesan. rossaro. lorenzi brothers.

Soft cardboard cover, white / red print, front spine & back. Illustrated on front, black / white photo of Australian troops at Chateau Wood in the Ypres Salient on 29.10.1917. 195 pages, cut, plain, white. No illustrations.book, great war

Soft cover, glossy paper. Black print on gold background showing soldiers in silhouette. Front cover to page 20 printed in English. Back cover to page 20 printed in French. 20 English & 20 French cut, plain, white pages. Illustrated black / white / colour photos & maps.Printed on front: “Order of Service Dedication and Burial Fromelles (Pheasant Wood) Military Cemetery 19 July 2010” Printed on back: “Protocole de la Ceremononie Inauguration et Inhumation Fromelles (Pheasant Wood) Military Cemetery 19 Juillet 2010”booklet, fromelles, dedication, pheasant wood

This butter pat profiler may have been manufactured post 1967(year post codes appeared in Australia) however the post code was only stamped on after it was machined. This type of butter mould was used by rural families to fashion home/farm made butter. This period was in most rural regions a time of self sufficiency where any domestic type implement which could be fashioned by the family would be crafted with skill. Shopping for goods required catalogues from stores located in major rural towns and cities and involved lengthy waiting times. Travelling to and from these specialised stores was not pleasant due to the relatively poor quality of the roads and the lengthy times taken. The small general stores in the Kiewa Valley could not cater for all the needs of the valley. The 1960's was a time when facilities especially goods and services started to improve drastically. The S.E.C. of Victoria with its Kiewa Hydro Electricity Scheme provided not only an improvement of facilities in the valley but also a increase in the population. This increase resulted in a greater demand for local produce.This item is one of many domestic food processing implements used by Kiewa Valley households in the mid 1900s, whether on the farm or in the small towns and hamlets. Self sufficiency was the key to survival during these early times. Where ever possible supplies from within the valley were preferred to that brought in by travelling salesmen or traders. This butter mould and butter pat was commonly used to fashion "home" made butter throughout the valley and in some cases supplied to "outside" regional towns. Although this method of production was phased out by better access to goods from nearby cities the revival of the good organic home grown produce in the 1980s saw a greater demand of this type of farm based produce.This butter Pat/Profiler has on its base two patterns. On each end it has horizontal grooves cut into the wood which produce distinct lines onto the surface of the butter. between these grooves there is a section of two double lines crossing in the middle and separated by eleven horizontal lines The base has an elongated rectangular shape. The upper body has been sanded into a smooth convex shaped form where a wooden circular hand grip has been fashioned.On the top of the hand grip is stamped in black print"T. & W. Davies" and under this"TAWONGA 3697"domestic food preparation, wooden butter pat, butter mould circular, dairy industry

Artwork. Norman Penrose collection: a drawing of two deer, enlarged from a wood-cut. 'A General History of Quadrupeds.' 1790 printed under the drawing of the deer. Drawing is 7.5cmH x 13cmW on a larger piece of cardboard. Cutting of 7 Australian Butterflies. Coloured picture of furniture, a child's toy and a colourful advertisement of showcard and ticket writing. Also another cutting of Danger Days.drawing, wood-cut, norman penrose collection, artwork, butterflies, ticket writing

The Ideal Clipless Paper Fastener is what is known as a stapleless stapler. It uses the Bump fastening method which was patented in the U.S. in 1911. The Ideal measures 4.75″ H x 3.125″ W x 1.875″ L and weighs 6.5 ounces. It was manufactured and sold in Japan but also exported to England. The case is made of stained wood with the fastening mechanism made of polished steel. From unsubstantiated sources I understand the wood is Japanese Boxwood, but I cannot verify that at this time. The markings on the front and reverse are done in black paint. The two patents listed on the reverse side of the fastener are Japanese patents. They were granted in March and September 1918 respectively. The patents were granted to two different men. The letters CK on the reverse of the fastener seem to be the initials of the two patent holders. If the design of a C superimposed over the K is a trademark as indicated, it would imply that the two patent holders went into business together to manufacture the Ideal Fastener. I’ve been unable to determine fully the names of the patent holders, but the K seems to refer to a Mr. Kuroda who was the author of the later patent. The Ideal fastener was sold alongside the Clipless Stand Machine (available 1911-1923) and Bump Fasteners in Japan. The latest patent number on the Ideal is from September 1918. Furthermore, there was also an all-steel model of the Ideal Clipless Paper Fastener being sold in 1922. While the available evidence is both sparse and largely circumstantial, I believe the Ideal Clipless Paper Fastener would have been sold from 1919 until about 1923. Furthermore, with the availability of an all-steel model in 1922, it is likely that this newer model would have been introduced as the replacement for the wooden-cased version giving me further reason to believe that this would not have been sold after 1923. The fastener was donated to Flagstaff Hill Maritime Village by the family of Doctor William Roy Angus, Surgeon and Oculist. It is part of the “W.R. Angus Collection” includes historical medical equipment, surgical instruments and material once belonging to Dr Edward Ryan and Dr Thomas Francis Ryan, (both of Nhill, Victoria) as well as Dr Angus’ own belongings. The Collection’s history spans the medical practices of the two Doctors Ryan, from 1885-1926 plus that of Dr Angus, up until 1969. Dr. Angus was in England in the 1920’s and could very well have purchased the Ideal Clipless Paper Fastener during his study time there. It was donated to Flagstaff Hill Maritime Village by the family of Doctor William Roy Angus, Surgeon and Oculist. It is part of the “W.R. Angus Collection” and includes historical medical equipment, surgical instruments and material once belonging to Dr Edward Ryan and Dr Thomas Francis Ryan, (both of Nhill, Victoria) as well as Dr Angus’ own belongings. The Collection’s history spans the medical practices of the two Doctors Ryan, from 1885-1926 plus that of Dr Angus, up until 1969. ABOUT THE “W.R.ANGUS COLLECTION” Doctor William Roy Angus M.B., B.S., Adel., 1923, F.R.C.S. Edin.,1928 (also known as Dr Roy Angus) was born in Murrumbeena, Victoria in 1901 and lived until 1970. He qualified as a doctor in 1923 at University of Adelaide, was Resident Medical Officer at the Royal Adelaide Hospital in 1924 and for a period was house surgeon to Sir (then Mr.) Henry Simpson Newland. Dr Angus was briefly an Assistant to Dr Riddell of Kapunda, then commenced private practice at Curramulka, Yorke Peninsula, SA, where he was physician, surgeon and chemist. In 1926, he was appointed as new Medical Assistant to Dr Thomas Francis Ryan (T.F. Ryan, or Tom), in Nhill, Victoria, where his experiences included radiology and pharmacy. In 1927 he was Acting House Surgeon in Dr Tom Ryan’s absence. Dr Angus had become engaged to Gladys Forsyth and they decided he further his studies overseas in the UK in 1927. He studied at London University College Hospital and at Edinburgh Royal Infirmary and in 1928, was awarded FRCS (Fellow from the Royal College of Surgeons), Edinburgh. He worked his passage back to Australia as a Ship’s Surgeon on the on the Australian Commonwealth Line’s T.S.S. Largs Bay. Dr Angus married Gladys in 1929, in Ballarat. (They went on to have one son (Graham 1932, born in SA) and two daughters (Helen (died 12/07/1996) and Berenice (Berry), both born at Mira, Nhill ) According to Berry, her mother Gladys made a lot of their clothes. She was very talented and did some lovely embroidery including lingerie for her trousseau and beautifully handmade baby clothes. Dr Angus was a ‘flying doctor’ for the A.I.M. (Australian Inland Ministry) Aerial Medical Service in 1928 . Its first station was in the remote town of Oodnadatta, where Dr Angus was stationed. He was locum tenens there on North-South Railway at 21 Mile Camp. He took up this ‘flying doctor’ position in response to a call from Dr John Flynn; the organisation was later known as the Flying Doctor Service, then the Royal Flying Doctor Service. A lot of his work during this time involved dental surgery also. Between 1928-1932 he was surgeon at the Curramulka Hospital, Yorke Peninsula, South Australia. In 1933 Dr Angus returned to Nhill and purchased a share of the Nelson Street practice and Mira hospital (a 2 bed ward at the Nelson Street Practice) from Dr Les Middleton one of the Middleton Brothers, the current owners of what previously once Dr Tom Ryan’s practice. Dr Tom and his brother had worked as surgeons included eye surgery. Dr Tom Ryan performed many of his operations in the Mira private hospital on his premises. He had been House Surgeon at the Nhill Hospital 1902-1926. Dr Tom Ryan had one of the only two pieces of radiology equipment in Victoria during his practicing years – The Royal Melbourne Hospital had the other one. Over the years Dr Tom Ryan had gradually set up what was effectively a training school for country general-practitioner-surgeons. Each patient was carefully examined, including using the X-ray machine, and any surgery was discussed and planned with Dr Ryan’s assistants several days in advance. Dr Angus gained experience in using the X-ray machine there during his time as assistant to Dr Ryan. When Dr Angus bought into the Nelson Street premises in Nhill he was also appointed as the Nhill Hospital’s Honorary House Surgeon 1933-1938. His practitioner’s plate from his Nhill surgery is now mounted on the doorway to the Port Medical Office at Flagstaff Hill Maritime Village, Warrnambool. When Dr Angus took up practice in the Dr Edward and Dr Tom Ryan’s old premises he obtained their extensive collection of historical medical equipment and materials spanning 1884-1926. A large part of this collection is now on display at the Port Medical Office at Flagstaff Hill Maritime Village in Warrnambool. In 1939 Dr Angus and his family moved to Warrnambool where he purchased “Birchwood,” the 1852 home and medical practice of Dr John Hunter Henderson, at 214 Koroit Street. (This property was sold in1965 to the State Government and is now the site of the Warrnambool Police Station. and an ALDI sore is on the land that was once their tennis court). The Angus family was able to afford gardeners, cooks and maids; their home was a popular place for visiting dignitaries to stay whilst visiting Warrnambool. Dr Angus had his own silk worm farm at home in a Mulberry tree. His young daughter used his centrifuge for spinning the silk. Dr Angus was appointed on a part-time basis as Port Medical Officer (Health Officer) in Warrnambool and held this position until the 1940’s when the government no longer required the service of a Port Medical Officer in Warrnambool; he was thus Warrnambool’s last serving Port Medical Officer. (Masters of immigrant ships arriving in port reported incidents of diseases, illness and death and the Port Medical Officer made a decision on whether the ship required Quarantine and for how long, in this way preventing contagious illness from spreading from new immigrants to the residents already in the colony.) Dr Angus was a member of the Australian Medical Association, for 35 years and surgeon at the Warrnambool Base Hospital 1939-1942, He served with the Australian Department of Defence as a Surgeon Captain during WWII 1942-45, in Ballarat, Victoria, and in Bonegilla, N.S.W., completing his service just before the end of the war due to suffering from a heart attack. During his convalescence he carved an intricate and ‘most artistic’ chess set from the material that dentures were made from. He then studied ophthalmology at the Royal Melbourne Eye and Ear Hospital and created cosmetically superior artificial eyes by pioneering using the intrascleral cartilage. Angus received accolades from the Ophthalmological Society of Australasia for this work. He returned to Warrnambool to commence practice as an ophthalmologist, pioneering in artificial eye improvements. He was Honorary Consultant Ophthalmologist to Warrnambool Base Hospital for 31 years. He made monthly visits to Portland as a visiting surgeon, to perform eye surgery. He represented the Victorian South-West subdivision of the Australian Medical Association as its secretary between 1949 and 1956 and as chairman from 1956 to 1958. In 1968 Dr Angus was elected member of Spain’s Barraquer Institute of Barcelona after his research work in Intrasclearal cartilage grafting, becoming one of the few Australian ophthalmologists to receive this honour, and in the following year presented his final paper on Living Intrasclearal Cartilage Implants at the Inaugural Meeting of the Australian College of Ophthalmologists in Melbourne In his personal life Dr Angus was a Presbyterian and treated Sunday as a Sabbath, a day of rest. He would visit 3 or 4 country patients on a Sunday, taking his children along ‘for the ride’ and to visit with him. Sunday evenings he would play the pianola and sing Scottish songs to his family. One of Dr Angus’ patients was Margaret MacKenzie, author of a book on local shipwrecks that she’d seen as an eye witness from the late 1880’s in Peterborough, Victoria. In the early 1950’s Dr Angus, painted a picture of a shipwreck for the cover jacket of Margaret’s book, Shipwrecks and More Shipwrecks. She was blind in later life and her daughter wrote the actual book for her. Dr Angus and his wife Gladys were very involved in Warrnambool’s society with a strong interest in civic affairs. He had an interest in people and the community They were both involved in the creation of Flagstaff Hill, including the layout of the gardens. After his death (28th March 1970) his family requested his practitioner’s plate, medical instruments and some personal belongings be displayed in the Port Medical Office surgery at Flagstaff Hill Maritime Village, and be called the “W. R. Angus Collection”. [References; Ideal Clipless Paper Fastener, Antique Outings http://antiqueoutings.com/ideal-clipless-paper-fastener/ ; Australian College of Ophthalmologists, Vol 11, 1970.; Medical Directory of Australia listing, alphabetical says 1929, Royal College of Surgeons Edinburgh says 1928; Documents re Dr Angus from daughter Berry McDade, received at Flagstaff Hill Maritime; Portland Examiner, June 13, 1969; The Advertiser (Adelaide) 14th Nov, 1910 - Blind restored to sight – Dr Edward Ryan, Melbourne; The Hamilton Spectator, Wed 15th April 1914 – Ararat man with eye affliction attended to by Drs E & T Ryan; The Nhill Hospital, first 100 years, 1885-1985, by Jan Doust; The Horsham Times, Tuesday 6th January 1885 – Dr Edward Ryan appointed to Nhill Hospital; People who passed this way – Warrnambool and District Historical Society; Warrnambool Base Hospital Report 1969-1970 The Standard, 22/6/1990; The Argus, 1970; Letter to Mrs G Angus from John Lindsay, Flagstaff Hill, 8/5/1973; ] This Ideal Clipless Paper Fastener is significant as a rare example of a clipless paper fastener used as office stationery of the 1920’s. This Ideal Clipless Paper Fastener is significant for its association with the W.R. Angus Collection, which is significant for still being located at the site it is connected with, Doctor Angus being the last Port Medical Officer in Warrnambool. The collection of medical instruments and other equipment is culturally significant, being an historical example of medicine from late 19th to mid-20th century. Dr Angus assisted Dr Tom Ryan, a pioneer in the use of X-rays and in ocular surgery. Paper fastener, clipless or stapleless. Part of the W.R. Angus Collection. Branded Ideal Clipless Paper Fastener, made in Japan. Push down action on wooden handle, metal cutting mechanism cuts and folds the cut flap to join two pieces of paper. Stained wood base, sides and handle, floral fabric under base. Inscriptions on sides and base are in black paint print. Early to mid 1900’sPrinted on sides “IDEAL CLIPLESS PAPER FASTENER” and “TRADE MARK (K with a C through it) PATENT NO. 45105 46743” and stamped into base "MADE IN JAPAN"flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, dr w r angus, dr ryan, surgical instrument, t.s.s. largs bay, warrnambool base hospital, nhill base hospital, mira hospital, flying doctor, ideal stapleless stapler, ideal clipless paper fastener, ideal paper fastener made in japan, paper fastener, office stationery, patent 45105 46743, ideal clipless paper fastener ck, logo ck c over k

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

Yields information about the arrival back in Ballarat of No. 13 from Lake Goldsmith, prior to unloading.825 Front page (& rear page) of the Ballarat Courier of Tuesday Dec. 6, 1983 featuring with a photograph of the return of the SECV Ballarat No. 13 to the BTPS depot. Sub heading of "And its the 13th tram in the lake sheds". Mentions owners, Lake Goldsmith and work needed to return the tram to service. Has photograph of Peter Winspur, Garry Wood, Peter Allen and Warren Doubleday standing by the truck with tram prior to unloading. 825.1 Newspaper Clipping of above, item cut out with only date on the top edge. See Reg Item 3830 for a print of the actual photograph used.trams, tramways, tram recovery, 13, btps

Yields information about the Ballarat tramway staff at the time of closure of the SEC operated system. Demonstrate framing of photographs.Framed Black and white photograph, mounted (partly loose) onto heavy card of the SEC Ballarat tram crews shortly before the closure of the tramway system in front of the depot building with three tramcars behind. Has a printed list of all employees or staff underneath. Titled "Ballarat Tramways Employees 1971". Frame - wooden, red stained wood with a painted gold coloured frame, glazed, with a cut cardboard piece on stippled paper. Rear backing sheet - brown leather type printed finish with a fold out section stapled to the rear to enable the photograph to be stood upright. Backing piece has been nailed to the frame. See Reg Item 1861 for further details of the photograph and list of employees.trams, tramways, ballarat, sec crews, personnel, staff photo, closure

A DECK GALLERY FOR JAPANESE PRINTS. A unique exhibition of Japanese Prints was opened yesterday on Japanese ship Kamo Maru.These pictures are the property of the captain of the Kamo Maru Captain T. Takahata, and are displayed in a specially arranged gallery on the deck of the ship now berthed at No. 13 Victoria Dock. A picture on board yesterday after noon. (Inset) - One of many fine works by Utaguard Toyokuni who died in 1825. Photographer notations on slide: "B21" Published: 23 February 1934 Published title: A DECK GALLERY FOR JAPANESE PRINTS. Published caption: A unique exhibition of Japanese Prints was opened yesterday on Japanese ship Kamo Maru.These pictures are the property of the captain of the Kamo Maru Captain T. Takahata, and are displayed in a specially arranged gallery on the deck of the ship now berthed at No. 13 Victoria Dock. A picture on board yesterday after noon. (Inset) - One of many fine works by Utaguard Toyokuni who died in 1825. Trove article identifier: http://nla.gov.au/nla.news-article203376863 Description: Japanese woodblock prints, probably belonging to Captain Takahata of the Japanese passenger and cargo ship Kamo Maru, who displayed his Japanese Woodblock prints in a special on-board gallery when it visited Melbourne during 1933 and 1934. Research by project volunteer, Louise McKenzie: Plate MCK025 shows a number of Japanese woodblock prints. Three are of traditional “samurai” or Kabuki-style Japanese men in traditional dress and hairstyle; one is a composite of four different prints: two men and two women (samurai/geisha) in traditional dress. There are also several prints appearing to depict traditional scenes of indoor and outdoor life in Japan in the Edo period. An article appeared in The Age in February 1934, covering the visit to Melbourne of Captain T Takahata on the Japanese ship the Kamo Maru. An accompanying photo shows several women, in coats and hats, and a man, closely inspecting a gallery hang of Japanese woodblocks. Inset is a single image of a Kabuki theatre performer, a detail from the full photograph as shown in our slide. This work is attributed to Utagawa Toyokuni (1769-1823), who was mostly known for his prints relating to kabuki theatre and the actors’ dramatic postures. Japanese Kabuki theatre features heavily stylised performances, glamorous, highly decorated costumes and elaborate make-up worn by its performers. It was particularly popular in the Edo period (1615-1868), as was woodblock printing, after its earlier introduction from China around 150 years earlier. Woodblock printing in Japan is a technique best known for its use in the ukiyo-e artistic genre of single sheet images (although books were also created) which flourished from the 17th through 19th centuries. Its artists produced woodblock prints and paintings of such subjects as female beauties; kabuki actors and sumo wrestlers; scenes from history and folk tales; travel scenes and landscapes; flora and fauna, and erotica. The term ukiyo-e translates as 'picture[s] of the floating world'. This expression could be confusingly translated as meaning ‘a world of sorrow and grief’, 'erotic’ or ‘stylish’, and later came to describe the hedonistic spirit of the lower classes of the 17th century. Asai Ryōi celebrated this spirit in the novel Ukiyo Monogatari (Tales of the Floating World), c. 1661: “[L]iving only for the moment, savouring the moon, the snow, the cherry blossoms, and the maple leaves, singing songs, drinking sake, and diverting oneself just in floating, unconcerned by the prospect of imminent poverty, buoyant and carefree, like a gourd carried along with the river current: this is what we call ukiyo.” (Wikipedia: 'Ukiyo-e') Mass production of woodblocks during the Edo period was due to high literacy rates: 100% for samurai and 50-60% for farmers. Consequently, cheaper books were produced in large numbers. In the 18th century, Suzuki Harunobu established the technique of multicolor woodblock printing called nishiki-e and greatly developed Japanese woodblock printing culture such as ukiyo-e. Ukiyo-e influenced European Japonisme and Impressionism. Yoshitoshi was called the last great ukiyo-e master, and his cruel depictions and fantastic expressions influenced later Japanese literature and anime. However today the best known exponents from the period are probably Hokusai and Hiroshige.The price of one ukiyo-e at that time was about 20 mon, and the price of a bowl of soba noodles was 16 mon, so the price of one ukiyo-e was several hundred yen to 1000 yen in today's currency. 'Wikipedia: Ukiyo-e' states: “Japanese art, and particularly ukiyo-e prints, came to influence Western art from the time of the early Impressionists. Early painter-collectors incorporated Japanese themes and compositional techniques into their works as early as the 1860s: the patterned wallpapers and rugs in Manet's paintings were inspired by the patterned kimono found in ukiyo-e pictures, and Whistler focused his attention on ephemeral elements of nature as in ukiyo-e landscapes. Van Gogh was an avid collector, and painted copies in oil of prints by Hiroshige and Eisen. Degas and Cassatt depicted fleeting, everyday moments in Japanese-influenced compositions and perspectives. ukiyo-e's flat perspective and unmodulated colours were a particular influence on graphic designers and poster makers. Toulouse-Lautrec's lithographs displayed his interest not only in ukiyo-e's flat colours and outlined forms, but also in their subject matter: performers and prostitutes. He signed much of this work with his initials in a circle, imitating the seals on Japanese prints. Other artists of the time who drew influence from ukiyo-e include Monet, La Farge, Gauguin, and Les Nabis members such as Bonnard and Vuillard. French composer Claude Debussy drew inspiration for his music from the prints of Hokusai and Hiroshige, most prominently in La mer (1905). Imagist poets such as Amy Lowell and Ezra Pound found inspiration in ukiyo-e prints; Lowell published a book of poetry called Pictures of the Floating World (1919) on oriental themes or in an oriental style.” An awareness of and interest in this style of art seems to have been well established by the time Captain Takahata brought his sailing gallery to Australia in the 1930s. The Age article “Colour Prints from Japan” on 22 February 1934 p. 13, consists predominantly of a sophisticated curatorial assessment of the woodblock style and detailed artist and style information, which is remarkable for its in-depth analysis. The writer even draws attention to the existence of female woodprint artists. It has been difficult to verify those noted in this article, but worth drawing attention to the work produced by the daughter of Hokusai, Katsushika Oi, which is documented and has gained attention within Japan and elsewhere. Captain Takahata may have been quite the ambassador: adverts in Australian quarterly magazine, The Home, promoted regular cruises out of Melbourne and Sydney via Queensland, Thursday Island, Phillippines and Hong Kong to Japan at a cost of £90 for a round trip via Yokohama.(The Home, 1 August 1936, pages 76 and 79). It is reported in one of the many newspapers articles printed during 1933/1934 about Captain Takahata and his collection, that he inherited it, and it was not for sale even at an offered £10,000. However, one article makes mention of him scouring antique shops in rural Japan to add to the collection! And even enlisting the help of his children in the hunt. The collection totalled 11,000 prints and apparently 1,500 travelled with him when he sailed. These numbers do differ between reports, but his collection was undoubtedly large, and Captain Takahata enjoyed lecturing on the subject, explaining that each print was handmade. It took painstaking work over months to create the delicate colour tones, with a block being created for each colour used, and transferred onto specially prepared paper. Many of the designs are symbolic, and even those representing figures and scenes have a narrative basis, or represent traditional incidents in the life and history of Japan. (See Japanese Prints, The Sydney Morning Herald, 14 July 1934). In Brisbane in October 1934, The Courier Mail noted that Captain Takahata, now on the Yusen Kaisha steamer ‘Atsuta Mam’ (a sister ship to Kamo Maru) arrived with another 100 prints in his possession, and that he spent his spare time mounting and cataloguing his treasures. One of his new additions dated from 1787 and Captain Takahata “said that it was the only woodcut to depict eyelashes, and with the aid of a magnifying glass, he showed the extremely fine lines around the eyes of the three Japanese ladies on the print.” References: COLOR PRINTS FROM JAPAN. (1934, February 22). The Age (Melbourne, Vic. : 1854 - 1954), p. 13. Retrieved February 29, 2024, from http://nla.gov.au/nla.news-article20338088 A DECK GALLERY FOR JAPANESE PRINTS. (1934, February 23). The Age (Melbourne, Vic. : 1854 - 1954), p. 11. Retrieved February 29, 2024, from http://nla.gov.au/nla.news-article203376863 JAPANESE WOOD-CUTS. (1934, July 14). Daily Commercial News and Shipping List (Sydney, NSW : 1891 - 1954), p. 4. Retrieved February 29, 2024, from http://nla.gov.au/nla.news-article161150580 JAPANESE PRINTS. (1934, July 14). The Sydney Morning Herald (NSW : 1842 - 1954), p. 12. Retrieved February 29, 2024, from http://nla.gov.au/nla.news-article28024038 RARE WOOD-PRINTS FROM JAPAN (1934, July 16). The Herald (Melbourne, Vic. : 1861 - 1954), p. 20. Retrieved March 2, 2024, from http://nla.gov.au/nla.news-article243171208 JAPANESE WOODPRINTS. (1934, July 14). The Sydney Morning Herald (NSW : 1842 - 1954), p. 16. Retrieved March 2, 2024, from http://nla.gov.au/nla.news-article28023902 11,000 RARE WOODCUTS (1934, October 11). The Courier-Mail (Brisbane, Qld. : 1933 - 1954), p. 18. Retrieved March 2, 2024, from http://nla.gov.au/nla.news-article35647690 A DECK GALLERY FOR JAPANESE PRINTS. (1934, February 23). The Age (Melbourne, Vic. : 1854 - 1954), p. 11. Retrieved March 2, 2024, from http://nla.gov.au/nla.news-article203376863 RARE JAPANESE PRINTS (1934, July 11). The Courier-Mail (Brisbane, Qld. : 1933 - 1954), p. 10. Retrieved March 2, 2024, from http://nla.gov.au/nla.news-article36723139 Wikipedia: 'Ukiyo-e', https://en.wikipedia.org/wiki/Ukiyo-e Wikipedia: 'Woodblock printing in Japan', https://en.wikipedia.org/wiki/Woodblock_printing_in_Japan Wikipedia: 'Utagawa Toyokuni', https://en.wikipedia.org/wiki/Utagawa_Toyokuni Wikipedia: 'Kabuki', https://en.wikipedia.org/wiki/Kabuki 'Digital Humanities and Japanese History',https://dh.japanese-history.org/2020-spring-women-in-japanese-history/japanese-women-artists-of-the-edo-period/ '25 Famous Painters in Japanese Art', https://dh.japanese-history.org/2020-spring-women-in-japanese-history/japanese-women-artists-of-the-edo-period/ 'Nyk Kamo Maru', https://blog.shipwatcher.com/index.php/nyk-kamo-maru/ The Home : an Australian quarterly Retrieved March 4, 2024, from http://nla.gov.au/nla.obj-386036987 : Volume 17, No. 8, 1 August 1936.Photographer notations on slide: "B21".japan, prints, ships, art

A Wright & Ditson wood tennis racquet with solid convex throat. Rounded flat top head. Manufacturer name and country of origin printed across throat on obverse. Manufacturer's trademark/logo features across throat on reverse. Cross-hatched handle and leather end wrap. Owner's initials: G.P. carved into throat on reverse. Series of cuts carved into handle post-manufacture. Indecipherable model name printed on crown on obverse. Materials: Wood, Metal, Lacquer, Glue, Ink, Leathertennis

Colour slide of cut wood lying n a forest ready to be collected. It was during Operation Firewood. Legatees would organise collection of wood from the country and distribute it to widows in metropolitan Melbourne. Other slides show the cutting and loading of wood and delivery to widows in metropolitan Melbourne. Was with many other slides taken in the 1950s and 1960s. The slides have been photographed to make digital images and moved to archive quality sleeves. In many cases the original images were not well focussed and the digital image the best available.A record of Legacy helping widows by sourcing, supplying and delivering firewood. When open fires were the main source of heating, a load of firewood and help moving it, would have been very important to the widows.Colour slide of cut wood in a forest during Operation Firewood in brown Anscochrome cardboard mount.Printed on front in red ink 'Anscochrome / View from this side / Made in Australia'. Hand written on front 'Ready for pick up' in blue pen. Printed on reverse in red ink 'Processed by Verycolor photo labs. Melbourne, Victoria'.operation firewood, trees, forest, wood

Constructed with timber from the wreck of the Pribislaw by3-masted ship modeled on the Pribislaw and constructed from this ship's wood, salvaged in the Shetland Islands. On timber base with descriptive panel. Ship complete with trimmings - German flag, sails, ladders, steering wheel etc.In printed type, cut out and stuck onto the back end of the model ship 'Pribislaw' and 'Hamburg'.maritime technology, model ships, pribislaw, 1849, 1850, german migration, model ship, hamburg