Mortar flare, tail fins, casing and timing fuse. Item is in two parts. Tail fin has separated from casing and been partially reinserted at an unusual angle.Fuse marked "LOT 10P-2-103-9-68-Can be set up to 25 seconds" Fin assembly marked "PEO-2-46-68"military-equipment-flares, metalcraft, mortars

Possibly worn at wedding of Elizabeth Jane ('Lil') Hartnell to Stephen Robinson Turner, 1885. Bodice of wedding dress - TEX-0013Clothing from early Kilmore family, the Hartnells.Ivory silk underskirt. Padded ruffle hem flaring out at back. Tearing along sides, lateral tearing down back coinciding with staining. Mould present (inactive).wedding, hartnell, turner collection

This stove brush is shaped to fit into grooves and crevices on a cast iron stove range and fenders. A brush like this would be used in the 19th and early 290th centuries to apply a blackening agent to the metal to clean and preserve it would be polished to make it look more attractive.This object is significant as an example of an item in common use in the 19th and early 20th centuries.Stove brush, wooden with wooden raised handle and black bristles. The bristles at the ends of the brush are longer than in the centre, and flare outwards. The brush' is rounded at one end and pointed at the other.flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, cast iron stove, oven range, stove brush, blackening brush, cooking, kitchen equipment, wood fired stove

8th Boe AFA the eight Battalion were among the first infantry units raised for the AIF during the 1st WW.Reynolds and Company Eb Cavalry Trumpet.On the flare of the trumpet the wording "Reynolds & Co. Challenge - A. P. Sykes Melbourne. Presented by Myer Emporium Ltd to 8th Boe AFA Melbourne Centenary Celebrations. 1931. surrounded by branches and foliage.

Tennis racquet with solid, convex throat, shoulders with string whipping, and fine grooved handle, flaring slightly at the butt. Materials: Wood, Metal, Glue, Lacquer, Gut, String, Gut, Leathertennis

The Fashion & Design collection of the Kew Historical Society includes examples of women’s, men’s, children’s and infants’ clothing from the 18th, 19th and 20th centuries. Items in the collection were largely produced for, or purchased by women in Melbourne, and includes examples of outerwear, protective wear, nightwear, underwear and costume accessories. This dress is one of a number of items donated to the Fashion Collection by Annie McIntyre.The McIntyre Collection of clothing and clothing accessories forms one of the largest single donations to our Fashion & Design collection. It includes clothing and clothing accessories worn by four women in the Cohen and McIntyre families across three generations. The items worn by Melbourne architect, and Kew resident, Dione McIntyre date from the 1960s and 1970s, and include evening wear, day wear, hats and shoes. As Dione McIntyre often accompanied her husband, fellow architect Peter McIntyre, to formal events, there are a number of pieces of evening wear among the items. The McIntyre Collection also includes items worn by women of an earlier generation: by Lilian Cohen, Dione McIntyre's mother, and by her mother-in-law, the wife of the architect Robert McIntyre. At the other end of the chronological spectrum are a number of outfits belonging to, worn and donated by Annie McIntyre. These include outfits created by notable late 20th century Australian and/or international fashion designers. The McIntyre Collection is significant historically and artistically as it includes examples of design that demonstrate changing tastes in fashion over an 80-year period. The collection is also significant in that it includes the work of a large number of Melbourne designers from the 1960s to the 1990s.Black acetate top and skirt. The short top includes a pleated border and shoulder straps, The full dress of the same fabric and colour is comprised of layers to emphasise its natural flaring quality.Label: Tussicocktail dresses, australian fashion - 1980s, women's clothing, evening wear, mcintyre collection, annie mcintyre, tussi

WW1 & 2 German Hebel flare pistol. The term Hebel (German "lever") referred to the pistol's lever-action, not the manufacturer. The lever in front of the trigger guard was flipped up and forward to open the breech.BP 3926 on left and unreadable markings on the right.ww1, ww2, german, first world war, second world war, world war one, world war 2, flare pistol

gas flare up fire training .1 Fiskville .2 Fiskville Fire Training Dec, 1981 .3 Fiskville Fire Training Dec, 1981 .4 Fiskville Fire Training Dec, 19814 color photographs.1 Fiskville .2 Fiskville Fire Training Dec, 1981 .3 Fiskville Fire Training Dec, 1981 .4 Fiskville Fire Training Dec, 1981fiskville, training

The two glass water containers/bottles are thought to have been used in railway passenger trains in the c. 1900s. The Wodonga train line and train station opened in November 1873 when the section of the line from Wangaratta to Wodonga was completed. The expansion of Victorian Railways to the northeast of Victoria occurred after the Victorian Government took over the railways in 1867 and the trains serviced large towns such as Seymour, Wangaratta and Wodonga, as well as smaller towns along the way.The two glass water containers/bottles have historic significance as examples of the equipment used in passenger trains in Australia in the c. 1900s.Two clear glass water containers/bottles with a narrow neck and flaring body, which were used in railway passenger trains c. 1900s. The slightly taller water container/bottle has a metal chain around the neck." c / NSW / TD" on the base of the taller water container.railways water containers, passenger train water containers, passenger trains water bottles, glass water bottles, railway equipment

.1: training - out the front of Ely st fire station .2: training - on roof af Ely st fire station .3: ???, Barrie sanders - spyaying fire hose of rear of Ely st fire station roof .4: training - gas bottle flare fire4 photographstraining, ely st

This brass cow bell was recovered from the wreck of the sailing ship ‘Loch Ard’ at Mutton Bird Island, near Port Campbell, Victoria, from late 1960s to early 1970s. Cow bells were listed as part of the cargo on board the Loch Ard. This bell is now part of the John Chance collection. Flagstaff Hill Maritime Village’s divers also recovered similar bells from the Loch Ard wreck in 1973. One of them was found in a sandy hole in the centre of the wreck site. All of the recovered cow bells are without their hangers. A bell of this size could have been used by horse or cattle teams. Cow bells were a common Colonial item. They were hung around the necks of grazing domestic cows and goats, bullock and horse teams, even camel teams so that they could be found again. Sheep and cattle drovers used them as a warning for night time disturbances such as wild animals. The maker of the cow bell, James Barwell, was a bell founder established in Birmingham, England, from 1784. In 1842 he acquired Fiddian’s firm of ‘Steam and Water’, keeping its name and stamping it on some of his products. According to his advertisement in the Exhibitors guide for the Church Congress of 1887, he made bells and fittings for churches and schools. He also made bells for cloches and chimes, and made tuned musical handbells. He repaired and reproduced bells, and he had a team of experienced ringers to “inspect towers and report upon the tone and condition of bells and fittings.” In 1903 he became incorporated as a Limited Company, ‘engineers’ and plumbers’ brasswork, and bell founders.’ In 1914 he advertised as ‘Cock and Bell Founders’, specialising in plumbing and engineering fittings, church bells, and “every description of hanging and hand bells.” Some of Barwell’s products were stamped with his maker’s mark (his initials J. B. either side of a cross entwined with a ‘B’ in an oval of oak leaves (for Birmingham)). James Barwell bells were no longer made after 1920. James Barwell was among makers who exported bells to the Australian colony from the 1860s. Early Australian iron animal bells were also made from the 1860s by blacksmiths such as Anthony Morgan from 1861, August Menneke from 1867, and Samuel Jones from 1868. Few brass bells were produced here in those times. This bell is historically significant as typical of a cow bell used by farmers and herdsmen in Colonial Victoria. Its significance is increased by being an artefact recovered by John Chance, a diver from the wreck of the Loch Ard and other wrecks in the late 1960s to early 1970s. Items that come from several wrecks along Victoria's coast have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value. The cow bell is also significant for being part of Flagstaff Hill’s collection of artefacts from LOCH ARD, which 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. Cow bell; heavy brass, flat top, pyramid shape, rectangular head, shoulders flare out to rectangular mouth. The head has two same-sized tooled holes for adding the hanging yoke. Inscription on top and one side. Encrustations are on the metal in places. The hanger and clapper are missing. Made by James Barwell of Birmingham.Stamped on the head "BARWELL / - - - / - - -- ING" [Perhaps BARWELL - - - BIRMING. Could size be in centre? 3 3/4 IN?] Stamped on side [motif] (undecipherable) flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, john chance, loch ard, mutton bird island, glenample, eva carmichael, tom pearce, james barwell, cow bell, horse bell, bell founder, bell smith, vintage bell, birmingham bell foundry, farmer, shepherd, drover, stock bell

Graham Masters is a potter based at Sweenies Creek, just outside Bendigo, Victoria who specialises in a patented technique of low relief stoneware depicting Australian animals and landscapes. He obtained a Diploma of Art and Design in Ceramics from the Bendigo Institute of Technology in 1973, then operated a pottery for a year in Bendigo, before becoming an employee, then a partner at Maldon Pottery, Victoria with Neville Wilson and Thomas Metcalf. He left Maldon to set up his own pottery at Sweenies Creek in 1984. (1.) (Judith Pearce). Built in 1869, the (former) Strathfieldsaye Shire Hall is one of The City of Bendigo's earliest surviving public buildings. Designed by George Steane and built by George Pallett in 1869 the Strathfieldsaye Shire Hall has aesthetic significance as a purpose built Shire Hall designed in the Free Classical manner. It is also of importance as an early example of the novel system of cavity wall construction. The building is largely intact and unaltered. Other important elements include the arched portico of the main entrance with brick arched features on either side; the brick quoining and dressings to the round arch windows; the three gabled roof; and the matching chimneys that reinforce the symmetrical design. The Hall has social significance as a temporary schooling facility in the 1870s and as a flood refuge in 1889. The Strathfieldsaye Shire Hall is a brick building designed in the Free Classical manner. This style was favoured by the Public Works Department for a number of public buildings including Shire Halls and courthouses. The form includes a central taller volume flanked by matching smaller gables. In the case of the Shire Hall these would be occupied by the Shire Secretary and Shire Engineer whilst the larger volume was the council chamber. The portico at the front is designed with a flat arch in the centre and matching smaller arches each side. The face red brick is unadorned apart from a plain string course at the roof springing point, brick quoining and dressings to the round arch windows. There are matching chimneys that are located to reinforce the symmetrical design and the original roof is believed to have been slate but is now corrugated iron. Large wheel thrown ceramic platter with a shallow well, broad flaring ledge and raised on a high foot rim. Rim decorated with slab rolled gum trees protruding on centre left and right sides of plater. which reflect the low relief image of trees and the Strathfieldsaye Shire Hall on the surface of the plate. Glazed with golden brown and cream. Front centre top; 'Shire of Strathfieldsaye'. Front lower centre '1866 - 1991 - 125 Years'. Signed 'G Master / 1991' on rim centre right. Reverse; signed 'G Master' / 1991. Bendigo Pottery stamp.shire of strathfieldsaye, bendigo pottery

“The Squadron’s Most Prestigious Trophy” THE CACTUS STORY Years ago a story was told of a Donkey which lived in the desert. The standard of living was poor, and the main course on the menu when things were tough was cactus. The Donkey accepted the good with the bad, and in bad seasons it was always cactus. One day during his wanderings he came to a high fence. On the other side of the fence was lush grass and all sorts of vegetation and animals in prime condition. The Donkey said to a horse, “things look good in there, how does one get in”. The horse said “go down to the end of this fence, and you will come to a gate, there will be someone at the get, ask to get in”. The Donkey went to the end of the fence, found the gate and asked to get in. The horse at the gate said, “what do you want to come in for, all of us are geldings?”. The Donkey said “if that is the case, it is back to the cactus for me”. It was during the early stages of the great depression of 1929-1932, that this story was simulated to the conditions at the then Royal St. Kilda Yacht Club, when during the yachting season there were very few trophies due to the lack of money. A lot of members were out of work, and each Monday many would front up for the jobs that were offering or those who missed out went back to the dole or as many put it “Back to the Cactus”. The “Cactus Cup” race, to be free of entrance fees, was an idea conceived by H.A. (Toby) Armstrong, soon to be backed by Bert Bryant, Ivor Bowles and Jim Thorpe. It was First sailed March 25, 1922, when 9 yachts on sealed handicaps, raced over a 5 mile rectangular course for a small Trophy donated by Jim E. Thorpe and the winning crew of the yacht Helen, skippered by D.Dowse, entertained at a café after the race by the instigators of the race. The next contest was April 12, 1930, for another small trophy also donated by Jim Thorpe, and the crew of the winning yacht Petrel, skippered by Stan Gamble, later on having to arrange for a mussel supper to the extent of Trophy money at an informal musical evening held in the spar room. From then on races for the Cactus Cup became an annual event. In time the format was changed to result in the crew of the first winning yacht having to collect mussels from the pier on the first Saturday of July, cook and prepare them for a no charge informal supper and entertainment evening held in the spar room, towards which the Club provided a keg of Beer. Member Bob Ellis had a special song for the occasion, “Up at Tumba Bloody Rumba shooting Kanga Bloody Roos”. Jim Thorpe then agreed to purchase a Perpetual Cup to be named the Cactus Cup. As guest of honor at the Cactus Supper Evening, May 1940, a dinner suit function in the Spar room, he presented the Cup along with Replica to Barney Snider who won with Eun-Na-Mara. Soon entries became few, for reason nobody wanted to win because of the penalty of having to collect, cook and prepare the mussels. In the interest of the contest and its revival, it was decided that the crew of the last yacht to finish had to collect, cook and prepare the mussels. On the death of Jim E Thorpe in 1944, the trophy, along with its annual replicas, were then provided for by Ivor Bowles until his death in 1970. In time for reason of pollution, the collecting of mussels from the pier was discontinued, so Otto Meik the new provider decided that the format be changed and be replaced by a supper on the day of the race, consisting of bottle mussels, beer and frankfurts. Following the death of Otto Meik in 1979, with no provider for the trophy of replicas, the Squadron in the early 80’s broke tradition by introducing race entry fees. In 2006 the Cactus Cup Tradition was reinstituted by a donation from J.H. (Bert) Ferris – RMYS historian. The Cactus Cup is now free to enter once again for all. The race is run early and a late afternoon feast of mussels and frankfurts is eaten afterwards.Deep sectioned Silver Cup, 300mm high to lip, tapering to thick plain stem flaring out to stepped footing, has two shaped handles. Silver Lid with Donkey positioned on shaped dome. Overall height 110mm. Cup stands on 145mm high round black base with stepped footing, surrounded with Silver winner inscription band.ROYAL ST. KILDA YACHT CLUB PERPETUAL CACTUS CUP INAUGURATED 1922 INSTIGATED BY H.A. ARMSTRONG ESQ. ORIGINAL CUP PRESENTED BY J.E. THORPE ESQ.cactus cup, trophy

Bugles have been used for hundreds of years for communicating instructions, particularly in battles, and announcements such as calls to assemble and various other routines of the day, particularly for infantry and military units. This pure silver bugle was presented to the Warrnambool Rifle Volunteers by Lady Helpman, on behalf of the Ladies of the District of Warrnambool, on June 18th, 1861. Lady Helpman's husband, Captain Benjamin Franklin Helpman, was Warrnambool Harbour master. The gift of this silver bugle was presented to the commanding officer of the Warrnambool Volunteer Rifle Corps, Captain Bushe, who then passed it on to the Warrnambool Volunteer Band. On 11th August 2016, during a ceremony at Flagstaff Hill, the Australian Army handed over custodianship of two very significant historical items the 1885 W. Clarke Trophy and the 1861 Warrnambool Ladies Silver Bugle to Warrnambool City Council, for display at Flagstaff Hill Maritime museum, both heritage listed items are strongly connected to the city of Warrnambool and form an integral part in the history of the Warrnambool Garrison.The Silver Bugle is locally significant to the community of Warrnambool for its connection to the Warrnambool Volunteer Rifle Corps., which formed part of the original Warrnambool Garrison to protect the Warrnambool Harbour. The site of the 1888 Warrnambool Garrison and Fortifications is Victorian State Heritage-listed is significant for its intact and operational nature and is one of the best-preserved pieces of Victoria's early colonial heritage. Silver alloy Bugle, with brass mouthpiece, a long tube of metal, narrow at the mouth end and gradually flaring to a wider at the bell shape at the other end. The tube is shaped into 3 bends. The front of the bell has an elaborate design of a ribbon banner attached above an oval floral wreath enclosing an inscription. The outer rim of the bell has an impressed ancient Greek geometric border.On ribbon banner “Armed for the Right”. Within the wreath “TO THE / WARRNAMBOOL / VOLUNTEER RIFLE COMPANY / this tribute of due appreciation / is presented by / THE LADIES / of the District / Warrnambool 18th June / 1861”flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, silver bugle 1861, bugle musical instrument, lieutenant benjamin helpman, doctor breton, captain bushe, bugler corrigan, drill instructor bernard, warrnambool volunteer rifle corps 1861, statistics of warrnambool volunteer rifle corps 1861, warrnambool volunteer rifle company, warrnambool rifle volunteers, warrnambool volunteer band, armed for the right, wall’s family hotel warrnambool, warrnambool garrison, volunteer corps

This olive green bottle was handmade by a glassblower and is the typical shape of a ‘gallon’ type liquor bottle, which has the capacity of one-sixth of an imperial gallon, about 750ml. It was made around the mid-to-late 1800s. The bottle was recovered from an unnamed shipwreck in the coastal water of Victoria. It is part of the John Chance Collection. Glassblowers made bottles like this one by blowing into a long metal pipe or reed with a blob of molten glass at the end of it. The shape of the glass would be blown out to fit into the shape of the mould. Once it set, the glass was removed from the mould and the glassblower would continue using the pipe to create the neck and another tool to finish the base. The bottle would be cracked off the end of the glassblower’s pipe and a blob of molten glass would be added to the top to form the mouth and lip of the bottle. The seal was usually a cork, often held in place with tape. Although the bottle is not linked to a particular shipwreck, it is recognised as being historically significant as an example of bottles imported for use in Colonial Victoria in the mid-to-late 1800s. The bottle is also significant as it was recovered by John Chance, a diver in Victoria’s coastal water in the late 1960s to early 1970s. Items that come from several wrecks have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value. Bottle, dark olive green glass, tall thin Gallon type. Lip is straight, deep, with thin horizontal lines in glass. Neck has gradual flare, body has side seams, heel has uneven thickness, and base is concave, without pontil mark. No inscriptions. Glass has imperfections. Handmade in mould. Body has score marks and is worn down one side. flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, john chance, glass bottle, antique bottle, gallon bottle, handmade, mouth blown, pontil mark, blown bottle, liquor bottle, 19th century bottle, collectable, olive glass, green glass, mould, 1800s bottle

Wedding dress bodice of Mary Rebecca Poulter ( 1879- )who married Hector (George?) Chapman (1871-1932) in 1901 at Christ Church, Kilmore.Clothing related to early Kilmore families.Deep blue bodice, tucks entire length of bodice. Bodice boned below bust to narrow waist, sleeves flaring at cuffs. Cotton lining, remnants of a lacy fabric at neckline. High collar, side fastening, dark blue braid trim at cuffs, collar & front. Hand sewn throughout. Front fastenings - metal hooks & eyes. Very fragile & poor condition. Not repairablepoulter, chapman, wedding dress

This box of matches was up until the 1980's the major source of lighting "small" fires, mainly for cigarettes, pipes (smoking), BBQs, gas/ kerosene heaters and "clearing" rural shrub by small fires. It was not until flint based battery and lighter fluid (hand held lighters) were introduced did the need for "matches" (a more dangerous application of instant fire starters) become relegated to a lower level "demand" item. The limited quality supplied in a box could also not compete with hand held gas and "lighter fluid" lighters. Box of matches belonged to the "yesteryear" fashion accessory's most important list. Matches had become obsolete for the major stream of users as cheaper, easier to use and longer lasting "cigarette" lighters were produced.This match box of Australian make and vintage in origin, was originally manufactured by a British Match Box Company (Bryant and May in Bow London), which expanded to the Australian "Colonies". The Australian subsidiary was at Cremorne, Melbourne. It was typical of goods, which had their "founding fathers" based in "the Mother Country" (England). The early settlers in the Kiewa Valley found these matches an important necessity for not only rural life but also for the recreational "smoko".This small box of "safety" matches has an inner "drawer" which can be slid open to reveal the "match" sticks. The small bowl shaped phosphorous at one end of a "match" is the fire starter(phosphorus) which when lit would "flare" up and provide a small flame. This typical box of matches held an average of sixty matches. The top of the match box has a "glued on" signage with manufacturer's details. In brown script and on a blue background "BRYANT & MAY'S and below this "CROWN" below this and on a red background with faded and worn letters "SAFETY MATCHES" On either side of the top side and in smaller print "MADE IN AUSTRALIA" and opposite "AVERAGE CONTENTS SIXTY"fire starters, cigarette lighters, bbq lighters, domestic fire starters

A flare, also sometimes called a fusee, is a type of pyrotechnic that produces a bright light or intense heat without an explosion. Flares are used for distress signalling, illumination, communication or defensive countermeasures in civilian and military applications. Flares may be ground pyrotechnics, projectile pyrotechnics, or parachute-suspended to provide maximum illumination time over a large area. Projectile pyrotechnics may be dropped from aircraft, fired from rocket or artillery, or deployed by flare guns or hand held percussive tubes. Signalling flares have been in use by all branches of the military services since the 1920s also by the maritime services to signal other ships or for distress purposes. The earliest recorded use of gunpowder for signalling purposes was the 'signal bomb' used by the Chinese Song Dynasty as the Mongol-led Yuan Dynasty besieged Yangzhou in 1276. These soft-shelled bombs, timed to explode in mid-air, were used to send messages to a detachment of troops far in the distance. Another mention of the signal bomb appears in a text dating from 1293 requesting their collection from those still stored in Zhejiang. A signal gun appears in Korea by 1600. The (Wu I Thu Phu Thung Chih or Illustrated Military Encyclopedia) written in 1791 depicts a signal gun in an illustration. The item was used to carry and store flares for signalling use as the inscription on the canvas cover suggests. Given the method of storing flares is in a wicker basket that is non conducting of an electrical charge that may accidentally set of explosive materials. The writer assumes the basket was used from the early 20th century and most likely by maritime or military services to store it's flares.Basket cane square with metal locks & rope handles each end. Canvas reinforced on vertical sides with a canvas cover on top. Canvas cover has leather straps. Stencilled on canvas in white paint "SIGNALLING STORES" flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, basket, cane basket, signalling stores

THE SKIRT The skirt has a gentle, soft, feminine design which keeps it in good shape and condition, preserving it from soiling and prolonging its life: - the satin fabric is softly pleated at the waist and falls gently to almost floor length - the opening is concealed at the back within one of the folds and closes with hooks and eyes underneath the bow at the back of the jacket - the horizontal stitching at the base of the skirt joins the lining to the skirt, and the firmness it creates allows it to gently flare out at the base without the need of hooped petticoats - a removable fabric lining at the hem protects the front and back of the skirt from friction and soiling from the wearer’s footwear THE SKIRT This evening outfit is significant for its connection with colonial Australia, Victoria and Warrnambool. It is a fine example of female fashion of the mid to late 1900s. The outfit is significant for its connection with a wedding uniting two colonial families from Northern Ireland who immigrated to Australia in the mid-1850s. The families had a significant role in the history of Warrnambool and district. The outfit is significant too for connecting the colonial families to the indigenous culture of the district and the contact between the native and European people. The lined, floor-length, amber satin skirt has gentle folds that gather into a fitted waistband. One of the folds at the back conceals the opening of the skirt that fastens using metal hooks and eyes. The bow at the back of the jacket covers the top of the closure. There are metal hooks distributed around the top of the waistband. The skirt is stitched horizontally around the hem in several rows. There is a removable fabric lining at the base of the skirt.evening skirt, ladies 1h century skirt, satin skirt, antique satin skirt

This external horn is part of an Edison Fireside Phonograph made in c.1909. The horn was attached to the machine when in use. The rings on the side of the horn allowed the horn to be suspended above the machine. The narrow opening on the horn was attached to the sound outlet on the machine and the conical shape of the horn amplified the sound. The horn was suspended to allow a clear sound. This was done by attaching the ring fitted to the outside of the horn to a chain or chord, which in turn was attached to a curved wire fitted to the phonograph machine. The phonograph machine was invented by Thomas Alva Edison in the late 19th century. Edison adapted the idea used when sending messages over a telegraph machine. He patented the phonograph in early 1878. The phonograph was able to record sound and play it back sound. This amazing invention opened up a whole new world of entertainments, where wax cylinders of pre-recorded sound could be purchased with a wide variety of music and played over and over. The first wax cylinders were white and used a combination of bees' wax and animal fax or tallow. By 1892 Edison was using 'brown wax' cylinders that ranged from cream through to dark brown. The Edison Phonograph Company was formed in 1887 to produce these machines. He sold the company in 1855 to the North American Phonograph Company but bought that company in 1890. He started the Edison Spring Motor factory in 1895 and then the National Phonograph Company in 1896. In 1910 the company became Thomas A. Edison Inc. In 1898 Edison produced the Edison Standard Phonograph, the first phonograph to carry his own trade mark. He began mass producing duplicate copies of his wax cylinders in 1901 using moulds instead of engraving the cylinders. The wax was black and harder than the brown wax. The ends of the cylinders were bevelled so that the title's label could be added. The last phonograph machine to use an external horn was produced in 1912 due to the much more robust records being invented. In 1913 Edison started producing the Edison Disc Phonograph. The company stopped trading in 1929. [NOTE: a phonograph machine plays cylinders, a gramophone plays records]This Edison external phonograph horn is significant for its connection to the c.1909 Edison Fireside phonograph model. The phonograph machine brought a new era of music into the homes of everyday people but was only popular for a few decades due to the growing popularity of records, which gave a much higher quality sound and were more robust.Phonograph horn; open horn, a conical shape with the lower part flaring out. The horn's shape on the opening half is octagonal, made from eight joined sheets of metal with a scalloped finish at the opening. The narrow end is hollow and ready to fit onto a phonograph outlet. There are two rings attached together on the side of the horn, perhaps for storing on a hook. The inner surface of the horn has remnants of deep red paint. This horn is from the Edison Fireside phonograph. (There is a mark on the outside of the horn where the Edison brand would be)flagstaff hill, maritime museum, maritime village, warrnambool, great ocean road, shipwreck coast, gramophone, phonograph, music player, entertainment, audio equipment, edison, thomas a edison, horn, phonograph horn, amplifier, audio, sound recording, sound playback, phonograph machine, external horn, edison phonograph company, wax cylinders, edison spring motor factory, national phonograph company, thomas a. edison inc, phonographic cylinder, sound reproduction

An item forming part of a collection of costumes, photographs and documents relating to the Weir family who lived in a mansion, originally named Illapa, at 84 Princess Street, Kew, from c.1917 to 1950. This historically significant collection includes items relating to both George Weir (1866-1937), his wife Edith Mary Weir (1867-1948) and their children. George Weir attained national prominence in the mining industry, becoming General Manager of the North Broken Hill Silver Mining Company in 1903 (later renamed North Broken Hill Mining Company 1905-12, and North Broken Hill Ltd 1912-1988), and subsequently President of the Mine Owners Association. He was to remain General Manager of North Broken Hill Ltd until his retirement in 1926.This garment is part of a collection of women’s clothing, owned and worn by Edith Mary Weir (nee Betteridge) - born in Clare, South Australia 1867, died Kew 1948 - and also by her daughter. The garments date from the 1880s to the 1930s. The collection includes day dresses, evening dresses, evening coats, capes, and undergarments. As the wife and daughter of a mine manager, the collection includes representative examples of clothing worn by upper middle class Australian women in domestic circumstances, and at social and civic events. A number of the costumes from the 1920s to the 1930s are of a particularly fine quality, being both rare, representative and intact examples of Australian fashion of the period. The garments in the Weir Collection were donated to the Kew Historical Society by a granddaughter of Edith Weir in 2017.Pale blue shot silk dress, comprised of a separate pale blue silk bodice and a wide flaring skirt of the same fabric. The bodice features silk embroidery in the same colour as the dress and wide bands of brown lace at the neck, on the front of the bodice and on the sleeves. Blue silk fabric tabs extend across the lace at the front with gold buttons at either end. The bodice has an attached blue silk belt. As part of the ensemble, there are also pale blue silk stockings, of the period. edith mary weir (nee betteridge), women's clothing, dresses, fashion -- 1900s, weir collection

Various news articles pertaining to the January 1962 Victorian bushfires in the Dandenong and Healesville districts. • Hills Ablaze As 27 Homes Burn; Night Fight, p1 (Illust.) • Yarra Glen, Healesville Saved; Fire into main street, p2 (Illust.) • Flare-up at Montrose, p2 • 20 scouts flee as fire sweeps camp, p2 • Gaol for fires today …, p2 • Timber lost, p2 • Heathmont home lost, but others saved, p2 • The desperate fight, p3 (Illust.) • Rubbish fire got away; Basin blaze, p3 • Panorama of destruction, p3 • Fire Captain Killed; 7 road deaths at week-end, p5 (Illust.) • Heartbreak, ruin as … Fire Sweeps the Hills, pp18-19 .(Illust.) • Tea; they made it for the fire fighters, pp18-19 (Illust.) tom fielding collection, victorian bushfires - 1962, victorian bushfires – 1962, dandenongs, the basin, yarra glen, healesville, montrose, chum creek, scouts, australian logging co., a.w. larkins, heathmont, vermont, r. pearson, mike ryan, vic parker, c.g. wilson, hillside farm, clive brewer, ron anderson, mrs anderson, mt dandenong, healesville rural fire brigade, malcolm barber, yarra flats, r. bicknell, ferny creek, blue hills gues house, heatherset road, sassafras, olinda, presbyterian manse, john gorie, janice gorie, lynette gorie, jacky wilson, patricia cortie

Pindarri was the name of the property on which artist John Serle lived on Pindari Road, St. Andrews. Colour painting reproduced on page 11 of "Pioneers & Painters: One hundred years of Eltham and its Shire" by Alan Marshall (1971). This chapter 1 "In the beginning" gives a physical description of the area: "Thick forest covered all the higher mountain ranges .. These areas were all heavily timbered, associated grasslands and eucalyptus extending from the thick forest country across undulating hills to the Yarra... The timber in general is gum, oak and Banksia, the two later are small, the gum two to four feet of diameter and from then to thirty feet high; on some of the low ground somewhat larger. The forest was open with little scrub..." The artist John Serle (born 1928) was the first local artist to become a councilor for the Shire of Eltham. He also worked for the Shire of Eltham grading roads. The Shire of Nillumbik hold a similiar painting in their collection (access via Victorian Collections) titled: Untitled (bush) Donor details on file. Location of original painting unknown. Most probably held in Serle family collection. Painting produced in 1968. Reproduced in "Pioneers and Painters", 1971 This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book,"Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as the 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.4 x 5 inch colour reversal film (1) Condition: May not be true to colour of original work. Scanned from a 4 x 5 inch colour transparency which was taken c.1970 (approx. 50 years old) and which has undergone significant colour degradation towards the red spectrum. Allowances made for colour cast correction in scan with best guess for white balance. Significant light flare is reflected off glossy surface of original work at camera lens at lower left and right sides causing quality issues.pioneers and painters, sepp, shire of eltham pioneers photograph collection, john serle, pindarrri, bush

This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book,"Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as the 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.4 x 5 inch colour reversal film (1) Condition: May not be true to colour of original work. Scanned from a 4 x 5 inch colour transparency which was taken c.1970 (approx. 50 years old) and which has undergone significant colour degradation towards the red spectrum. Allowances made for colour cast correction in scan with best guess for white balance. In some cases, significant light flare is reflected off glossy surface of original work at camera lens causing quality issues.sepp, shire of eltham pioneers photograph collection, john olsen

The 1969 Wynne Prize for landscape was awarded to John Olsen, 41, of Cottlesbridge, Victoria, for his painting, 'Chasing Bird Landscape'.This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book,"Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as the 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.4 x 5 inch colour reversal film (1) Condition: May not be true to colour of original work. Scanned from a 4 x 5 inch colour transparency which was taken c.1970 (approx. 50 years old) and which has undergone significant colour degradation towards the red spectrum. Allowances made for colour cast correction in scan with best guess for white balance. In some cases, significant light flare is reflected off glossy surface of original work at camera lens causing quality issues.sepp, shire of eltham pioneers photograph collection, john olsen, cottlesbridge, 1969 wynne prize

This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book,"Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as the 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.4 x 5 inch colour reversal film (1) Condition: May not be true to colour of original work. Scanned from a 4 x 5 inch colour transparency which was taken c.1970 (approx. 50 years old) and which has undergone significant colour degradation towards the red spectrum. Allowances made for colour cast correction in scan with best guess for white balance. In some cases, significant light flare is reflected off glossy surface of original work at camera lens causing quality issues.sepp, shire of eltham pioneers photograph collection, clifton pugh

This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book,"Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as the 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.4 x 5 inch colour reversal film (2) Condition: May not be true to colour of original work. Scanned from a 4 x 5 inch colour transparency which was taken c.1970 (approx. 50 years old) and which has undergone significant colour degradation towards the red spectrum. Allowances made for colour cast correction in scan with best guess for white balance. In some cases, significant light flare is reflected off glossy surface of original work at camera lens causing quality issues.sepp, shire of eltham pioneers photograph collection, clifton pugh

This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book,"Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as the 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.4 x 5 inch colour reversal film (2) Condition: May not be true to colour of original work. Scanned from a 4 x 5 inch colour transparency which was taken c.1970 (approx. 50 years old) and which has undergone significant colour degradation towards the red spectrum. Allowances made for colour cast correction in scan with best guess for white balance. In some cases, significant light flare is reflected off glossy surface of original work at camera lens causing quality issues.sepp, shire of eltham pioneers photograph collection, david armfield