Tin, fly killer, rectangular tin with sloping edges, transfer print on upper side of white daisies with cork centres, marked “Daisy Fly Killer contents posionous”, with instructions for use, Harold Somers, New York, USA, c. 1888-1929. Collection: Powerhouse Museum
There are 30,00 types of flies, one of the most familiar and widely distributed is the house fly. Besides being annoying it can also carry diseases.like typhus, dysentery, and tuberculosis,
The introduction of cattle to Australia in 1788 gave the fly increased access to one of it’s food sources, animal dung.
Australian have battled flies n the home and in the paddocks.and the Museum holds a wide variety of approaches to combat flies from poisons like the oddly named and decorated Daisy killer pictured above to fly swats, fly paper and glass flay traps.
Jack Brabham driving a Repco-Brabham at Warwick Farm, Sydney, Lance Ruting, Australia, 1967, Collection: Powerhouse Museum
It was sad to awaken to the news of the passing of one of Australia’s great sporting heroes, Sir Jack Brabham at his Queensland home this morning. The Powerhouse Museum had a fruitful relationship with Sir Jack and his wife Lady Margaret in the late 1990s during the development of the exhibition Cars and Culture : our driving passion .
We were lucky enough to exhibit Sir Jack Brabham’s Formula One Repco Brabahm car, a Repco engine, and some of Sir Jacks memorabilia in the Museum’s exhibition Cars and Culture: our driving passion (1998-2000). The exhibition explored Australians passionate relationships with their cars and Sir Jack wrote a forward in the accompanying publication of the same name.
Sir Jack Brabham was one of the most accomplished drivers and team owners in the history of Formula One racing. The first driver to be knighted for services to motorsport, and the first Australian to win the Formula One World Championships, he won in 1959, 1960 and 1966. The the final time in a car designed and engineered by him with friend and fellow Australian Ron Tauranac .
96/250/1 Presentation set, design and construction of Hawkesbury River Railway Bridge, wood / metal / ivory / fabric, Allerding & Son, Sydney, 1889
This post by loans registrar, Katrina Hogan is an example of the Museums regional loans program, highlighting the Powerhouse Museums collection and its important links to New South Wales industrial and social history.
On the weekend 3-4 May 2014, the Dangar Island Historical Society commemorated the 125th opening of the Hawkesbury River Bridge with a series of events and an exhibition about the history of the construction of the bridge.
H8281-6 Pamphlet, `The Veedee and its Uses for Women’, paper, The Veedee Co, London, England, 1908. Collection: Powerhouse Museum
The Museum’s collection is a treasure trove of the beautiful, innovative, important and unusual. The vibratory massagers definitely fall into the latter category, as part of the health and medicine and social history collections.
The vibratory massagers were part of a wider self help health regimes and equipment of the late 1880s and early 1900s. Brochures like the one above asserted the devices could cure colds, digestive complaints, flatulence, gout, rheumatism, tiredness and general complaints through ‘curative vibration’. The Perth Daily News , January 22, 1916 carried an article about the ’Veedee Institute in Perth with further claims for cures of rheumatism, sciatica, anaemia, deaflness, and all kidney, liver and nerve troubles instantly relieved and permanently cured by the Veefdee Vibra*.
85/1286-1283 Photographic negative, studio portrait of Basil James Ryan (alias- Basil De Courcy) World War One, Gunner, 9 Field Artillery Brigade (Brigade Ammunition Column), glass / silver / gelatin, The Warren, Marrickville, Sydney, New South Wales, April 1916. Collection: Powerhouse Museum
Discovering the identities of World War One soldiers from the Tyrrell Collection portraits has often been a difficult and tedious process. A contributing factor to this difficulty is the use of aliases by soldiers. According to military historian Neil Smith, the “incidence of aliases being used is frequently underestimated” within the AIF. The prevalence of aliases means that the real names of soldiers are “often difficult to establish”.
Photographic negative, studio portrait of William Grant Green, World War One, Gunner, 9 Field Artillery Brigade (33rd Battery), glass / silver / gelatin, The Warren, Marrickville, Sydney, New South Wales, March-April 1916. Collection: Powerhouse Museum
As we approach the centenary of World War One commemorative activities will be taking place across the world by all the countries involved in World War One. Australia’s responses will include exhibitions, publications and re-enactments of recruitment drives like the Coo-ee and Kangaroo marches in 1916 .
The Museum has been researching its collections linked to the war. We have discovered our very own ‘Lost Diggers’ collection, though on a smaller scale. A collection of 404 World War One soldier portraits are part of the Museum’s extensive Tyrrell Photographic Collection.
85/2600 Children’s Pop Up Easter book, 1950-1975. Collection: Powerhouse Museum
The image above is a familiar one used to celebrate Easter, for many people a religious holiday. However some of its components such as Easter eggs, are linked to pagan traditions. The origins of the Easter bunny have been ascribed to a 13th-century, pre-Christian Germany, when people worshipped gods and goddesses. The Pagan deity Eostra was the goddess of spring and fertility, and feasts were held in her honour on the March equinox which marks the beginning of Spring in the northern hemisphere. The symbol of the rabbit or hare was chosen because of the animal’s high reproduction rate.
A6896-1 Sleeping Beauty Tableau, made by Rene Wilson, 1960 Collection: Powerhouse Museum
Sydney’s Royal Easter Show came from agricultural beginnings. In 1822 in a new and small colony the Royal Agricultural Society was formed with the intention of increasing livestock within the colony and sharing farming practices. The first show was held the following year in Parramatta.
Looking across to Cockatoo Island’, Kerry and Co, Sydney, Australia, c. 1884-1917. Collection: Powerhouse Museum
This image from the Museum’s Kerry and Co collection shows Cockatoo Island in the late 1800s. Now one of the venues for the Sydney Biennale, the island has had a diverse past, as a home to convicts, ship builders and now artists.
Leanne Wicks and the Kandos Museum collection
It would be very dull to summarise my 2013 Movable Heritage Fellowship (MHF) with how influential the Powerhouse Museum staff were and how useful and life-changing the experience was. Nevertheless it needs to be said.