Powerhouse Volunteers

The flying kite…

Collections Research volunteer Daniel researched this object from the Powerhouse Collection, Object No. 94/27/1, a composite photograph of Lawrence Hargrave flying a kite at Stanwell Park.

This remarkable sequence of five photographs captures a pivotal moment in the history of early aviation experimentation. Taken around 1897, the images show Hargrave testing one of his innovative “soaring kites” on the beach, part of a series of experiments designed to better understand how lift could be generated and controlled in horizontal wind.

Lawrence Hargrave and James Swaine with the kites and other gear used in the kite-lift experiment at Stanwell Park beach, 12 November 1894 / photographed by C. Bayliss

Hargrave had already made headlines just a few years earlier. On 12 November 1894, also at Stanwell Park, he demonstrated that stable flight was possible by lifting himself 16 feet into the air using four cellular box kites. This daring experiment helped establish a crucial principle: that controlled, sustained lift could be achieved with the right design.

Object No. 94/27/1- Composite photograph of Lawrence Hargrave flying a kite at Stanwell Park

By the time these photographs were taken, Hargrave had shifted toward refining his ideas with a safer and more methodical approach. His experimental setup, visible in the images, was deceptively simple. Two 24-foot poles were anchored in the sand and connected by a cord, from which a kite was suspended at the midpoint. A flag mounted on one of the poles indicated wind direction, while the kite’s upward pull relative to the wind allowed Hargrave to observe lift performance without risking damage to his designs, or himself.

Hargrave became particularly interested in shapes inspired by bird wings – Object No. P3544-60 – Photograph of Lawrence Hargrave flying machine model

Through repeated trials using this apparatus, Hargrave explored the impact of wing curvature on lift efficiency. He became particularly interested in shapes inspired by bird wings, developing designs with curved surfaces and thicker leading edges. While his theoretical understanding of aerodynamics wasn’t entirely accurate, his practical insights proved invaluable.

Lawrence Hargrave portrait on the Monash University Engineering Faculty wall. Cira 1890

Hargrave was confident in the implications of his work, writing: “A very few trials will convince the most sceptical that if we are not soaring in moderate breezes before the end of the century it will not be from ignorance of the way to do it.” His optimism reflected a broader shift in thinking – flight was no longer a fantasy, but an engineering problem within reach.

Wrights Brothers – First flight 1903, North Carolina

Importantly, Hargrave chose not to patent his designs. Instead, he published his findings in a series of papers for the Royal Society of New South Wales, making his work freely available to others. This openness likely influenced later pioneers, including the Wright brothers, whose development of efficient aerofoils and eventual success in powered flight in 1903 built on ideas that experimenters like Hargrave helped bring into focus.

Today, Hargrave is recognised not only as an inventor and engineer, but also as a key figure in the global story of aviation.

Many thanks to Daniel for uncovering this great story about the object.

Research and story by volunteer Daniel. Blogpost by Karen Griffiths, (Volunteers Program Officer)

An Iconic bag…

Collections Research volunteer Jingning has researched this handbag from the Powerhouse Collection (Object No. 91/2020-10). The object forms part of a women’s day ensemble designed by Karl Lagerfeld for Chanel in Paris in 1991.

The handbag is a small clutch-style design made from quilted black grosgrain silk, with a fold-over flap secured by a gilt-metal twist-stud buckle. It features a shoulder strap of black silk cord interwoven with a twisted gilt-metal chain, and the Chanel ‘CC’ monogram engraved on the internal stud of the strap fastening.

When Karl Lagerfeld took the reins of Maison Chanel in 1983, Coco Chanel had been gone for 12 years, and the brand was struggling. The death of its founder had left a vast void, and Chanel was in desperate need of a new iconic persona. Lagerfeld, like Coco, understood what it took to transform fashion for the modern woman. Instead of abandoning her legacy for his own, Karl Lagerfeld considered himself the “channeler” of Coco. As such, he would reinterpret and rejuvenate the iconic designs of Coco Chanel, inserting ready-to-wear into popular culture and restoring Haute Couture to its former glory. With his regular uniform of a black suit, dark shades, a powdered white ponytail, and fingerless leather gloves, Karl Lagerfeld molded himself into a distinctive caricature who kept alive the myth and legacy of Coco Chanel.

Coco Chanel and the most recognizable symbols in the fashion world, two interlocking opposed C letters.

Embracing the iconic motifs of Chanel – from the pearls and suits to the interlocking CCs – Karl Lagerfeld modernized the house’s designs, while ensuring that they remained recognizably Chanel. In combining the allure of his own persona with that of Coco’s, Lagerfeld preserved Chanel’s image as the ultimate luxury brand.

Looking to past designs for inspiration, Lagerfeld incorporated signature Chanel details, tweed fabrics, gold chains, and quilted leather in each contemporary collection. Most notably, Coco Chanel designed the interlocking Cs logo in the 1930s, and Lagerfeld championed this iconic image in everything from necktie prints to handbag clasps.

Chanel 2.55 Handbag, notice there is no CC logo

During his first year as creative director at Chanel, Karl Lagerfeld reimagined one of Coco Chanel’s most iconic designs: the 2.55 Flap Bag. Thus, Lagerfeld’s decision to reinterpret such a timeless piece was tremendously bold. His inspired vision was channeled through the Classic Double Flap bag, and it was a breakout success. With Lagerfeld’s redesign came two new features – a leather woven chain and Double C turn-lock closure. Just as universally wearable and simple as the 2.55, the Classic Double Flap quickly became a mainstay statement piece.

Classic 11.12 Handbag, Lambskin Black, 2026. Notice the leather woven chain and Double C turn-lock closure.

Today, the Classic Double Flap – now known as the Classic 11.12 Handbag – costs over $18,000, reflecting its status as one of Chanel’s most iconic and enduring designs.

Thank you, Jingning for uncovering and sharing the story of this remarkable object.

Research and story by volunteer Jingning. Blogpost by Karen Griffiths, (Volunteers Program Officer)

The portable cheque writer…

This object, No. H9068, a portable cheque writer made by Todd Protectograph Co., c. 1920, in the Powerhouse collection, was researched by Collections Research volunteer Marcel.

At first glance, this compact, table-model machine might seem like a curious relic of office life, but it represents an important chapter in the history of financial security. Manufactured around 1920 in Rochester, New York, the cheque writer was designed to combat a very real and widespread problem of its time: cheque fraud.

On top, a sliding scale – Object No. H9068 – Portable cheque writer made by Todd Protectograph Co, c. 1920. Powerhouse Collection

The machine itself is a striking piece of industrial design. Constructed from a combination of metal, plastic, and glass, it has a solid, functional presence. On top, a sliding scale allows the user to select numerical amounts, while at the front, a metal roller and hand crank bring the mechanism to life. Inside the inspection cover on the right-hand side, a card with printed instructions remains as a testament to its everyday use.

Operating the cheque writer was a tactile process. The user would set the desired amount, insert a cheque, and turn the handle to wind it through the machine. As the cheque passed through, the device would imprint the amount in two forms: numbers in black ink and words in red. This dual-printing system was a clever security feature, while numbers could be altered, the printed words made tampering far more difficult, significantly reducing the risk of fraud.

This is an original 1917 black and white print ad for the Protectograph Check Writer from the Todd Protectograph Company of Rochester, New York

The company behind this innovation, Todd Protectograph Co., was established in 1899 by G.W. Todd. By 1910, the company proudly advertised that 85,000 of its protectographs were already in use, highlighting just how essential these machines had become to businesses, including banks, seeking to safeguard financial transactions.

Object No. 2010/1/179 – Star adding machine, 1930-1950. Powerhouse Collection

This particular cheque writer was acquired into the Powerhouse collection as a gift from Email Ltd on 10 September 1973. It also sits alongside other calculating and financial devices from the same manufacturer, including a later “Star adding machine” (1930–1950), a mechanical pinwheel calculator that reflects the evolution of office technology.

Today, the portable cheque writer stands as more than just a tool, it is a reminder of the ingenuity applied to everyday problems and the ongoing effort to secure financial systems long before the digital age.

Thank you, Marcel, for uncovering and sharing the story of this remarkable object.

Research and story by volunteer Marcel. Blogpost by Karen Griffiths, (Volunteers Program Officer)

The Juicy Salif lemon squeezer…

Collections Research volunteer, Liz, recently researched Object No: 2000/68/2 – Juicy Salif lemon squeezer by Philippe Starck for Alessi from the Powerhouse collection.

The Juicy Salif sparks an interesting conversation about design: what is more important – form or function? As a lemon squeezer, the object is rarely praised for its functionality because when squeezing a lemon, the result is often spilt juice and seeds. But when it comes to considering form, the object is often described as stylish, beautiful, futuristic, and even alien.

Object No. 2000/68/2 – ‘Juicy Salif’ lemon squeezer by Philippe Starck for Alessi, 1990-1999. Powerhouse Collection

The Juicy Salif was created by Philippe Starck who was a renown French designer and architect. In partnership with Alessi, an Italian design company, Starck strove to bring imaginative design to everyday household objects. The idea for the Juicy Salif came to Starck while having a lunch of squid garnished with lemons while holidaying on the Island of Capraia. Starck used his restaurant table mat to sketch out images of a squid, alongside a shape that consisted of three long spider-like legs which supported a ridged conical body where a lemon half could be pressed to extract juice.

Philippe Starck’s sketches on a pizzeria mat

The table mat with its sketches was handed over to Alessi, who commenced manufacture of the juicer in 1990. The Juicy Salif stands approximately 30cm tall and is made of polished aluminium. Its dynamic and uninterrupted lines give it a sense of visual movement and other worldliness, a design style that was characteristic of the 1930s. The Juicy Salif went on to become one of Alessi’s most successful products. Purchasers of the Juicy Salif see the product not so much as having practical use, but as a conversational starter for when family and friends come to visit.

Juicy Salif lemon squeezer by Philippe Starck for Alessi

A big thank you to Liz for researching and sharing the story of this iconic, cool object in the Powerhouse collection!

Research and story by volunteer Liz. Blogpost by Karen Griffiths, (Volunteers Program Officer)

An Offering, A Burning, A Prayer

On March 11, Powerhouse volunteers headed on a cultural field trip to the 4A Centre for Contemporary Asian Art to discover the exhibition An Offering, A Burning, A Prayer. What a great discovery it turned out to be. The gallery is right in the middle of Haymarket, and for many of us it was our first time visiting.

Jason Phu with members of the Chinese Seniors Group and TENUN (Storehouse Indonesian Activity Group) of The Kogarah Storehouse, KTSHCSGATENUN Fun Extravaganza New Year Chinatown Parade, 2026.

We were incredibly lucky to have the exhibition curator, Con Gerakaris, guide us through the exhibit.

Powerhouse volunteers Dinah, Kim and Elaine listening to the exhibition curator Con Gerakaris talk about the work of artist Casey Chen.

The exhibition brings together newly commissioned and recent works by artists Choy Ka Fai, Casey Chen, WeiZen Ho, Emma Pham, Jason Phu, and Savanhdary Vongpoothorn. The show explores the role of fire within ritual and ceremony, using the symbolism of Lunar New Year as a starting point. From the burning of incense and paper offerings for ancestors to the cleansing rituals that welcome the new year, fire becomes a powerful symbol of renewal, transformation, and release.

Casey Chen, Big Robot 3, 2022. Glazed Porcelain, ceramic colorants, enamels and gold lustre; fired four times. Collection of N.Smith Gallery, Sydney.

The exhibition also reflects on the energy of the Year of the Fire Horse, a moment associated with change, new direction, and a sense of forward movement. Across the works, themes of family, memory, and care appear alongside ideas of letting go and beginning again.

One of the interesting discussions during the tour was how these ideas of fire and renewal resonate with other practices, including First Nations Cultural Burning in Australia—carefully managed fires used to sustain the health of Country and encourage new growth. These connections added another thoughtful layer to the exhibition’s exploration of cycles, healing, and transformation.

Savanhdary Vongpoothorn. Aflame, 2003. Photogravure on print.

The artworks themselves were wonderfully varied. Some works felt quiet and reflective, while others brought humor and playful energy into the space. We saw delicate works on paper, ceramics, textiles, video pieces exploring performance and ritual, and more.

Emma Pham’s digital tapestry: Guardian Mother Spirit in My Computer, 2003. Single-channel video, 1m30s.

For many of us, the visit was not only a chance to see a fantastic exhibition but also to discover a gallery we hadn’t visited before. The space is very peaceful; an interesting contrast with the busy streets just outside.

Powerhouse volunteers Kim, Dinah, Maria and Elaine posing next to Choy Ka Fai’s artwork : Lotus Tiger Society: We cling on to UNESCO, 2022. Speculative shaman costumes.

A big thank you to Con Gerakaris for the generous and insightful tour. If you haven’t visited 4A before, we recommend checking it out. The exhibition An Offering, A Burning, A Prayer concludes on 29/03.

Shirt money…

Collection Research Volunteer Andrea researched this object from the Powerhouse collection: a spade money coin from the Xin Dynasty (9–23 CE), minted during the rule of Wang Mang.

This coin is made from a cast copper alloy and features a seal script inscription on the obverse reading 貨布, transliterated as Huo Bu. The type was produced following currency reforms introduced in 14 CE and belongs to a distinctive form of ancient Chinese money known as spade money, which was shaped somewhat like a small agricultural tool.

The Xin Dynasty is often regarded as a brief interregnum within the broader history of the Han Dynasty. It was established by Wang Mang, who originally served as regent before usurping power and declaring himself emperor in 9 CE. His rule, however, proved short-lived. A combination of natural disasters, ambitious but unpopular reforms, and widespread dissatisfaction led to instability across the empire. These tensions eventually erupted into civil war, culminating in Wang Mang’s death in 23 CE and the restoration of the Han Dynasty under Liu Xiu, later known as Emperor Guangwu.

One of Wang Mang’s most notable policy areas was monetary reform. During his time as regent, he initiated the first currency reform in 7 CE. After founding the Xin Dynasty, a second reform between 9 and 10 CE attempted to overhaul the monetary system entirely. This reform introduced a complex array of new currency types, including round coins, spade-shaped coins, as well as forms of wealth represented by gold, silver, tortoise shell, and cowries.

two large chinese characters Huo Quan (“money coin”)

However, the system proved confusing and difficult to manage. The complicated currency structure caused significant dissatisfaction among the population and contributed to social and economic unrest. In response, Wang Mang launched a third currency reform in 14 CE. This reform simplified the system by abolishing many of the previously introduced tokens and issuing two main coins: the round Huo Quan coin and the Huo Bu spade coin seen here. Another coin type, known as Bu Quan, was also introduced during this period.

Object No. N1616, Chinese coin from Han Dynasty, 9-23. Powerhouse Collection

Despite these attempts to stabilise the economy, the earlier reforms had already undermined confidence in the regime. Economic instability, combined with other political and environmental pressures, weakened Wang Mang’s authority and contributed to the eventual collapse of the Xin Dynasty by 23 CE.

Object No. 2008/233/3–4, sometimes referred to as “Shirt Money,” offers a fascinating glimpse into this turbulent period of Chinese history and the ambitious reforms attempted by Wang Mang’s government.

Thank you to Andrea for her research and contribution to our understanding of this object from the Powerhouse collection.

Research and story by volunteer Andrea. Blogpost by Karen Griffiths, (Volunteers Program Officer)

Cole’s Book Arcade Advertising Token…

Collections Research Volunteer Liz recently explored a remarkable object from the Powerhouse Collection: Object No. N11495, Cole’s Book Arcade Advertising Token.

This small, coin-sized token was issued by E. W. Cole to promote his world-famous Cole’s Book Arcade, which opened in Melbourne in 1873. More than a simple advertisement, these tokens, often referred to as medals, were a vehicle for Cole’s values, beliefs and vision for society.

Medal – Coles book arcade federation of the world, reading & thinking, c.1885. Photo by Jon Augier. Museums Victoria.

The tokens frequently carried uplifting maxims offering guidance for everyday life. Phrases such as “READING AND THINKING BRING WISDOM” reflected Cole’s belief in the transformative power of knowledge. Others, including “GOVERN THE WORLD NOT BY GLORIOUS WAR BUT BY GLORIOUS TRUTH,” revealed his strong moral and political convictions. Cole believed deeply that education should be accessible to everyone.

Each token was sold for three pence and could be redeemed for goods or kept as a souvenir. It is estimated that approximately 300,000 tokens of various designs were distributed during the life of the bookstore.

Born in England in 1832, Cole arrived in Melbourne at the age of twenty, drawn by the gold rush. Finding gold mining both physically demanding and intellectually uninspiring, he turned instead to business. In 1865 he opened a pie stall, followed by a secondhand book stall at the Eastern Market on the corner of Bourke and Exhibition Streets (then Stephen Street). The venture was so successful that in 1873 he opened a bookshop on Bourke Street near Russell Street. A decade later, he relocated to a far larger, two-storey premises in what is now Bourke Street Mall, in the building that today houses David Jones.

Coles Book Arcade on left, Bourke St facade, Melbourne cira 1873

Circulating Library Collins Street, p 34 from Coles Book Arcade: Album of photographs, 1923. Album compiled by Henry Williams

The new Cole’s Book Arcade was enormous. Cole claimed it held two million volumes – making it, at the time, the largest bookshop in the world. Its atmosphere was closer to a carnival than a quiet, conventional bookstore. So great were the crowds that police were sometimes required to manage them.

The Arcade’s fame spread internationally. Notable visitors included Rudyard Kipling and Mark Twain during their visits to Australia.

Cole delighted in the whimsical and fantastical. He filled his arcade with attractions including funhouse mirrors, optical illusion galleries, a toy department, music boxes, a band and even an aviary. He envisioned a destination that was not merely a place to buy books, but an immersive experience – educational, entertaining and beautiful all at once.

Aviary at the Arcade, p 19 from Coles Book Arcade: Album of photographs, 1923. Album compiled by Henry Williams. Shows keeper, Harry Gay, who was sometimes mistaken for Edward Cole

Arcade Band, p 17 from Coles Book Arcade: Album of photographs, 1923. Album compiled by Henry Williams

This modest token provides a powerful glimpse into the vision of a man who saw bookselling as more than commerce – it was a vehicle for ideas, inspiration and community.

Thank you, Liz, for your thoughtful research and for bringing the story of this extraordinary object to life.

Research and story by volunteer Liz. Blogpost by Karen Griffiths, (Volunteers Program Officer)

Collection Conversations February 2026

On Wednesday 25 February 2026, in the middle of Lunar New Year celebrations taking place across Sydney and around the world, our volunteer team hosted a joyful new edition of Collection Conversations. This session was dedicated to the traditions, stories and material culture around Lunar New Year.

Lion Dance ornament used by the Yiu Ming Society⁩, c. 1970. Object No. 2003/114/3-2.

For the first time, we held the session in the Library at the Powerhouse Museum. It was a welcoming setting, perfect for conversation and close looking. A heartfelt thank you to our wonderful librarians, Karen and Dimity, for their support in making the session possible.

Visitors taking a closer look at the fireworks labels brought by Helen.

Our fantastic volunteers Phoebe, Gabi and Mike led this session, sharing their research and enthusiasm with everyone in the room. Using objects from the Powerhouse Collection, we explored how Lunar New Year celebrations mark renewal, hope, family and community. From the traditions of gift-giving to the significance of Lunar New Year calendars, each object sparked conversations about protection, prosperity and community.

Phoebe, Gabi and Mike spoke about the history of fireworks, the tales and stories behind lion dancing, and the ongoing importance of seasonal traditions across generations.

We welcomed a fantastic group of intergenerational visitors from all walks of life – local Sydneysiders and international guests alike – many of whom generously shared their own traditions and experiences. We were also delighted to welcome two members of the new Museum of Chinese Australia (MOCA) in Haymarket, making the occasion feel even more special.

The session wrapped up with relaxed and lively conversations as visitors gathered around some Lunar New Year objects Phoebe had brought along, as well as fireworks labels and books shared by Helen. People took their time looking more closely, asking questions and continuing the discussion. It was a enriching and open exchange, and a lovely way to end the morning.

The feedback was overwhelmingly positive, with many visitors sharing how much they enjoyed the session and how much they learned. It was a great reminder of the energy and generosity that our volunteers bring to these community events.

If you have ever wanted to share your knowledge, explore a research topic or area of interest, or join engaging community conversations, we warmly invite you to take part in a future session.

We look forward to welcoming you to our next Collection Conversation in March.

A Column section…

Collections Research volunteer Marcel recently researched this remarkable object from the Powerhouse Collection, Object No. C6842, a Column section from the Mercantile Mutual Insurance Building, Sydney, circa 1930.

This terracotta architectural element was produced by Wunderlich Limited, one of Australia’s most influential building manufacturers of the late nineteenth and early twentieth centuries.

Construction of the Government Savings Bank of NSW, Martin Place c1927-1928. Wunderlich products used on this grand façade.

Wunderlich products became embedded in everyday Australian life. Their work ranged from grand façades such as the former Government Bank in Martin Place to domestic stamped metal ceilings, garbage bins and even engine cowlings manufactured during the war effort. Their prefabricated stamped ceiling and wall panels became some of the company’s most recognisable products, and examples can still be seen in some of Sydney’s oldest buildings.

John McCormack and unidentified woman assembling aircraft cowling in Wunderlich factory, Redfern 1943

Wunderlich ‘Pattern Book’⁩, 1935, Object No. A7437-31/23/2, Powerhouse Collection.

The company began registering patents for its designs in the early 1900s. In 1906, the trademark “Wunderlich, Sydney” was registered, followed in 1911 by additional trademarks including “Wunderlich,” “Wunderlich Manufacturers,” and “Wunderlich Ceilings.” In 1969, the company was taken over by the Colonial Sugar Refining Company Limited (CSR) and was delisted from the Australian Stock Exchange in 1970.

⁨Dome made by Wunderlich Ltd⁩, 1928-1929, Object No. 2023/95/1. Powerhouse Collection

The evolution of Wunderlich’s designs reflects changing architectural tastes over time. Across its lifespan, the company produced work in a range of styles including ornate Victorian classicism, Art Nouveau, Art Deco and Gothic Revival, often anticipating emerging trends. As such, Wunderlich played a significant role in shaping Australia’s built environment, and its products offer insight into the stylistic and social transformations of Sydney across the nineteenth and twentieth centuries.

The Museum holds numerous examples of Wunderlich manufacture in its collection, including stamped metal panels, roof tiles and terracotta elements such as this column section.

Huge thank you goes to Marcel for researching the history of this ornate object.

Research and story by volunteer Marcel. Blogpost by Karen Griffiths, (Volunteers Program Officer)

Space Invaders…

Collections Research volunteer Mitch, recently researched Object No. 85/841, Space Invaders arcade cabinet, from the Powerhouse Collection.

This object is an original 1978 Space Invaders arcade cabinet, a machine that helped define the golden age of arcade gaming. Its upright wooden cabinet houses the internal electronics of the game, along with a coin slot designed to accept 20-cent pieces. The front screen, where players once faced wave after wave of alien attackers, is framed by vibrant artwork depicting a cratered lunar landscape, a laser turret and hovering UFOs. Interestingly, the cabinet also features human-like monsters that do not actually appear in the gameplay itself. Designer Tomohiro Nishikado later explained that this imagery likely stemmed from the game’s original working title, Space Monsters.

Kids playing Space Invaders in an arcade, cira 1980’s

Teenagers play on a Space Invaders machine in Newcastle in December, 1980 (Image: Newcastle Chronicle)

Released in Japan by Taito in April 1978, Space Invaders quickly became an international sensation. It was distributed in the United States and Europe by Midway Manufacturing, and in Australia by Leisure and Allied Industries later that same year. The gameplay was simple yet revolutionary: players controlled a laser cannon, moving left and right to shoot descending waves of pixelated aliens while aiming for the highest possible score.

Australian flyer for Space Invaders, cira 1980

Despite its simplicity, Space Invaders transformed the video game industry. It is often cited as one of the most influential and iconic video games of all time. The game pioneered features that are now standard in gaming: the introduction of high scores, the ability for players to dodge enemy fire, and a dynamic, looping soundtrack that increased in tempo as the aliens descended – heightening tension in real time. Its commercial success was extraordinary, reportedly generating $3.8 billion in quarters within its first four years. So immense was its popularity that an urban myth emerged claiming it caused a temporary shortage of 100-yen coins in Japan.

This object evokes a sense of nostalgia, reminding many of the childhood thrill of playing Space Invaders in arcades, the excitement of chasing high scores, and the simple joy of gathering with friends!

A huge thank you to Mitch for his thorough research into this remarkable object !

Research and story by volunteer Mitch. Blogpost by Karen Griffiths, (Volunteers Program Officer)