Golden Square High School in the city of Bendigo, was established in temporary accommodation at Camp Hill Primary School in central Bendigo in 1960. With the completion of the new school's buildings, it moved to Golden Square in 1962, providing for Forms 1 to 6, now known as years 7 to 12. In 1978 it became a 7–10 school and was one of the original feeder schools to Bendigo Senior High School. In 1986, a Hearing Impaired Unit was established and in 1990 it underwent a name change to become Golden Square Secondary College. The Golden Square Secondary College campus closed on 28 November 2008. It merged with Kangaroo Flat and Flora Hill secondary colleges as part of the implementation of the Bendigo Education Plan. Its buildings were demolished. (Wikipedia https://en.wikipedia.org/wiki/Golden_Square_Secondary_College)Golden Square High School Blazer. The green blazer has one upper and two lower pockets, each lined at the top with a strip of gold fabric with diagonal red stripes and a row of red stitching bordering the strip. The top pocket shows the school emblem i colours of green, gold, red and white in square and rectangular block formation. "High School" is written in gold against a white background at the top of the emblem and "Golden Square" is embroidered in part circle below the emblem. The name is dark gold against a fainter gold background. The Blazer is fastened with three buttons. Only one button remains attached. Another button is in a pocket. A label under the collar reads "Tailored by Clark in Pure wool' "Size 34". Two badges are pinned to the top pocket. "PREFECT" . Reflecting the school colours - gold lettering on red on a green rectangle set against a gold oval shape. "S.R.C." Gold lettering on green background.Written on the label "K Jeffrey 7G". Also written in pen on the lining inside of the upper arm. There is also another crossed out name.gssc, school uniform

Twenty six piece cutlery set. Cutlery is stored in a blue box with marbled pattern with fabric hinges. There are two gold coloured clasps to close the box. A silver coloured metal plate is attached to the top of the box with an engraved inscription. Presented to Mr & Mrs J Qualtrough by MOLOGA FRIENDS 9.9.33 Also STG.SII The Cutlery set was given to Henry Thomas and Elsie Qualtrough when they left Mologa in 1933 to return to Bendigo. The tray of the box is lined with blue satin. There is a central black velvet covered frame with indentations for six dessert spoons, four teaspoons and two tablespoons. There are two indentations for teaspoons at the top. One teaspoon is missing. Spoons and forks have the Maker's mark on the back of the handle Sheffield Eng. Stainless Steel. A small piece of paper has become detached with the name of the manufacturer C. J. Kirkby, My Jeweller 306 Hargreaves St Cr Allan's Walk Bendigo Phone 738MYTTON'S ALL.BRITE.11.Sdomestic equipment, table setting, canteen of cutlery.

A damaged dark green fabric covered book of Tennyson's Poems with the title printed in gold in an elaborate decorative style at the top of the front cover. At the bottom written in gold lettering is Harper's Complete Edition - Illustrated. The spine has Tennyson's Poems in a gold lined rectangle at the top and Harper's at the bottom. Inside on the title page is printed - The Poetical Works of Alfred Tennyson Poet Laureate. Numerous illustrations, publisher details and 1871 with a head and shoulder black lined illustration of Tennyson. Opposite, the frontispiece shows an illustration of a man rowing a small boat past a castle on the hillside with a woman who has died lying in it shrouded by a lace coverlet.The Contents page lists his many varied works with a list of additional poems printed exclusively in this edition. At the back is a Harper Brothers' List of new Books, brief outlines of Draper's History of the American Civil War and Winchell's Sketches of Creation. p. 250.non-fictionA Harper's Complete Illustrated collection of Tennyson's poems with Additional Poems at the back of the book. poetry, alfred tennyson

Ramon (Ray) Francis Honisett (11.04.1931 - 30.08.2019), Fellow RMIT and medallist specialised in philatelic design, marine and military aircraft painting art and was active in the 1960s - 1990s. Ray Honisett used to live in Rye, in the Mornington Peninsula. According to Gavin Fry's book: The painting likely depicts the Lysaght Endeavour loading at Hastings. "The Lysaght Endeavour and its sister ship Lysaght Entreprise were built in Newcastle in 1973 specifically to serve the regional steel industry on the route Port Kembla - Westernport - Adelaide. Even after being lengthened by 17 metres, the two ships had remarkably short working lines, with both being broken up by 1988."Maritime artLarge framed unglazed landscape format painting predominantly green depicting in foreground a merchant vessel, a roll-on roll-off cargo ship moored at a single quayside on a river or river mouth. The middle ground shows a moderate solid jetty leading to large storage sheds at right. The background appears primarily rural with fields and hills in the distance. The location is probably Hastings Western Port in Victoria - notice the forklifts loading rolls of steel produced at the nearby steel rolling mill - the buildings in the distance. You can see the rolls of steel lined up on the hard stand to the right of the ship. The funnel colours suggest the Australian National Line. The frame incorporates a beige fabric slip with gilt edge the actual dark wood frame also with inset banded gilt edge. The back of the painting is covered with brown paper in places damaged. Hangs on a cotton cord threaded between two screw in eyelet hooks.at lower right corner single uc word in black paint : "HONISETT"tankers, marine painting, maritime art, ramon honisett, ray honisett, anl maritime art prize, acta maritime art prize, hastings, western port, victoria, steel, roll on roll off, forklift, mornington peninsula, artwork-paintings

BHS CollectionHanro Stand Alone Counter Display Picture: A coloured picture of two men on the golf course playing golf modelling Hanro knitwear. One has on a beige long sleeve V necked cardigan. The pockets on either side have a pleat in the centre and a band at the top. The garment has a small vertical brown stripe running through out the fabric, it is buttoned up with five brown buttons. The other is a yellow V necked vest. The Vest is knitted in a small cable pattern with knit bands around the neck and arms. At the bottom on the picture is a label with white background and *Hanro in red and black print and Knitwear for men*. The very bottom printed in yellow is *'The Quality Is A Proud Tradition. The material for the front is plastic covered card. The back is green tin. A brown card rectangular strip used for a stand and has two metal holes with string attached. A sticker with Bellesini is stuck on the card stank. Box 116Aphotograph, person, hanro, hanro

This little book is one of only 1000 books published of the original Queen's Jubilee Edition. It spans fifty years of the history of Warrnambool from the time that the first Government Land Sales commenced. It also deliberately coincides with the 1887 celebrations of Queen Victoria's Jubilee Year of her ascension to the British Throne. The book is an invaluable reference for researchers of local Warrnambool history and has been used as a textbook and reference book for local students. The book became part of the Warrnambool Public Library, and when the library closed down, the book was held by the Warrnambool City Council until, in 1974, it was transferred to the newly established Flagstaff Hill Maritime Museum and Village. The author, Richard Osburne, (1825-1895) was born in Australia. He moved to Warrnambool in 1847 as the first local Journalist. In 1851 he founded the Warrnambool Examiner newspaper which he operated until the end of 1880. Osburne was much involved in civic and community affairs of the town, and he set himself the task of recording the history of the city's early pioneers. In the introductory pages of the book the author refers to himself as "The Father of the Warrnambool Press". Only 1,000 copies of this edition of the book were printed. In September 1980 a facsimile edition was printed with the addition of illustrations from the period, an index and relevant annotations by local historian T.A. Wicking (Tom Wicking). This later book was named the Premier Town Edition, due to Warrnambool being awarded the title of Premier Town in Victoria in 1979-82 by the Premier of Victoria; it also received the inaugural award in 1959 and a later award in 1988-91.This book is rare. It is one of only 1000 copies printed, and one of three in the Collection of Flagstaff Hill Maritime Museum and Village. The book was dedicated to the early colonists as well as to the new arrivals by the writer, Richard Osburne, who entitles himself as "The father of the Warrnambool Press". The content of the book is invaluable as a reference for Warrnambool and District's local history in its early colonial and pioneering days. It provides the information that helps in an understanding the foundation that the city was built on, connecting the people of today to the pioneers of the past.The History of Warrnambool: Capital of the Western Ports of Victoria, From1847 up to the end of 1886 (when the first Government Land Sales took place) Author: Richard Osburne, "Proprietor of the Warrnambool Examiner from 1851 to the close of 1880" Publisher: The Chronicle Printing and Publishing Company Limited Date: 1887 (MDCCCLXXXVII) (Roman numerals are covered in tape) Edition: Original: Queen's Jubilee Edition Hardcover book with titles on the spine and front cover. The front and back covers have been coated in a clear substance, the spine has fabric reinforcing with titles handwritten in white. Inscriptions include stamps and handwriting. A library label has been pasted onto the front cover, then the cover has been lacquered. The first fly page has a message to the readers, as shown in the Inscriptions of this record. Many of the pages in this book have handwritten notes in the margins and within the text and some of the lines are crossed out.The Pastedown front endpaper has a sticker from Warrnambool Mechanics Institute and Free Library Front loose endpaper has a stamp from "Warrnambool Mechanics Institute" Handwritten Iin black pen on from cover are the words "Warrnambool Museum" Label on the front cover: "THE ATTENTION OF SUBSCRIBERS ..."warrnambool, shipwreck coast, flagstaff hill, maritime museum, maritime village, the history of warrnambool, richard osburne, osturne's history of warrnambool, queen's jubilee edition, 1847-1887, warrnambool history, the chronicle printing and publishing company, capital of the western ports of victoria, first government land sales, warrnambool examiner, five shillings, warrnambool's first reporter, warrnambool public library, 1887, 1979, premier town, premier edition, queen's jubliee, queen victoria's jubilee, western ports of victoria, 1847, government land sales, chronicle publishing and printing co., 1000 copies, old colonists, young australians, new arrivals, rise and progress, capital of western victoria, interesting and useful, the father of the warrnambool press

DPCU (Disruptive Pattern Camouflage Uniform) Work dress. Colours light to dark green through to light to dark brown. Cotton/polyester fabric. Khaki colour plastic buttons. 1. 2. & 3. Shirts - work dress. Collar, shoulder epaulettes, two front pockets with concealed button closure flaps. Front five buttons with concealed placket. Long sleeves with cuff. 1. Name patch has been sewn on "GRULKE". Rank Insignia on both sleeves - 3 stripes - Sergeant. Australia colour patch - top left sleeve. 4. & 5. Trousers - new style, two side pockets, two large patch side pockets with two button closer flaps. One back patch pocket with button. Belt loops with buttons. Nylon/metal zipper fly. DPCU pocket lining. Manufacturers label on right front pocket lining.Manufacturer's information on label - black ink print. 2. "ADA/ VICTORIA/ 1995/ ^ / 8415-66-130-0027/ SIZE 92s/ SERVICE NO/ NAME/ 50% POLYESTER 50% COTTON/ MACHINE WASHABLE/ DRIP DRY ONLY/ DO NOT IRON DO NOT STARCH/ DO NOT BLEACH/ A1". 4. & 5. "ADI/ VICTORIA/ 1995/ ^ 8415-66-134-8921/ SIZE 95r/ CUT NO 3603/ SERVICE NO/ NAME/ 50% POLYESTER 50% COTTON/ MACHINE WASHABLE DRIP DRY ONLY/ DO NOT IRON DO NOT STARCH/ DO NOT BLEACH"passchendaele barracks trust, uniform, army, work dress, dpcu

Alice Henty (1852-1932) was the third daughter of Francis and Mary Ann Henty. her father was the youngest son of Thomas Henty, who with his family, their retainers and property moved to the Australian colonies between 1829 and 1832. In 1834, Francis’ older brother, Edward, sailed from Launceston in Van Diemen’s Land to what was to become Portland in the western part of Port Phillip District [Victoria]. Francis, together with the first flock of Merino sheep [in Victoria], followed some months later. The first and second generations of the Henty family established vast pastoral properties in the Western part of the Port Phillip District. Francis Henty managed ‘Merino Downs’ near Casterton, while also living with his wife following his retirement at ‘Field Place' in Kew. The Henty Collection of nineteenth and twentieth century clothing, including outerwear and underwear, was collected, stored and exhibited over time by female family members descended from Francis and Mary Ann Henty. During the twentieth century, items from the collection were modelled in two fashion parades by various descendants [1937, 1959]. The items in the collection are historically and aesthetically significant, with provenance provided by oral and written tradition within or held by the family. A number of the items in the collection are very rare survivors, and provide researchers with the evidence needed to reconstruct the lives of notable women in the Port Phillip District [later Victoria] during the nineteenth and early twentieth century.Alice Henty’s wedding dress, made in 1876 for her marriage to John Hindson was remodelled in 1943 for the wedding of her granddaughter, Alice Henty Hindson to Norman Lithgow Tait at Holy Trinity, Kew. It was worn again by Margaret Henty Hindson (1918-2000) at her marriage to Dougald Webster Matheson at St Paul's Church, Henty in 1944. The two piece dress has a low décolletage shaped with a collar from which two curved panels drop. The fastenings for the bodice are buttons covered with the same fabric. The bodice is completed with two full length sleeves. The full skirt is slightly flattened at the front with a long train. In contrast, the ivory silk, silk faille and satin bodice with long tails remained unaltered. The front closure of the jacket has handmade embroidered buttonholes and covered buttons. The pleated collar and sleeves are decorated with gathered silk tulle. The jacket features long tails. alice frances (henty) hindson, women's clothing, wedding dresses, margaret henty hindson

This afternoon dress belonged to Clara Johnstone Miller (nee Bell, 1866-1910). Clara was the only daughter of Mr James Bell, a councillor of the Shire of Leigh (today a part of Golden Plains Shire) and owner of Woolbrook Homestead in Teesdale, near Geelong. In 1888, Clara married prominent businessman, racehorse owner, racing identity and pastoralist Septimus Miller (1854-1925). Septimus was the sixth of seven children born to Henry 'Money' Miller and Eliza Miller (nee Mattinson). 'Money' Miller was a well known financier and politician and reputedly one of Australia's wealthiest people in his time. In 1889, Clara and Septimus moved into the house 'Cantala' in Dandenong Road, Caulfield. They had one child, Gwendoline Stewart Miller, who died in 1902 at the age of thirteen of diabetes - a largely untreatable condition at the time (insulin would not be discovered until 1921). Clara died in 1910, aged only 44. Septimus subsequently married Helen (nee Henderson), with whom he had a son, Ronald (1915-1990). The Millers were buried in the Brighton General Cemetery in a large Gothic-style vault. Upon Clara's death, Septimus sent much of her clothing and Gwendoline's to her mother Mary Bell. Some of these items were passed down to two of Clara's nieces, Miss Mary Bell and Mrs Lois Lillies, who donated them to BHS around 1973.A salmon (pale orange pink) corded silk afternoon dress with orange beaded embellishments, consisting of a bodice (.1) and skirt (.2) from c.1890. The bodice features a high standing collar with triple pleated bone silk chiffon trim along the top line, under the chin. This same chiffon is also secured in two pieces gathered and secured under the collar and and at the waist adding volume over the bust line and partially obscuring the jacket closing. The chiffon is secured at the side into the main fabric of the bodice by the beaded embellishment. The pink seed beads are sewn in lines of five beads one after the other creating a diagonal design that tapers from the shoulder to the waist. The bodice is boned around the front and back and secured down the centre font by nineteen hook and eyes and additional cotton tapes. Further beading details the bottom centre front and base line of the bodice. The shoulders have been repaired with replacement fabric to match, from our records it appears that the repair work was performed in circa 1974 but no record exists of the original shoulder design and if the repair was an exact copy of the original. The repaired shoulders feature a small frill around the shoulder yoke and top of the arm. The sleeve is fitted and three quarter finishing just below the elbow. The base of the sleeve is also trimmed with the pink bead design and bone three pleat chiffon trim. The back of the bodice features shaped panels contouring the jacket neatly in at the waist and then splitting and splaying out over the fullness of the skirt. The skirt appears to have been floor or ankle length held at the waist by a wide waistband. The skirt openings have been altered from the original currently featuring two openings secured by press studs. The skirt is gathered to the waistband at front and back creating fullness. The lower part of the skirt features the same pink bead embellishment and additional beaded flowers and diagonal point edge detail.clara miller, woolbrook, septimus miller, henry 'money' miller, gwendoline miller, cantala, 1890s fashion, caulfield, brighton general cemetery

This book of Illustrated Directions was produced for use with the Davis New High Arm Vertical Feed (VF) Sewing Machine. The first model of the High Arm was produced in 1881, and the ‘New’ model, Model 2 VF, was introduced from 1883 and continued at least until 1885, when the Model 3 VF was manufactured. Job Davis, an inventor, showed his Davis Sewing Machine to two brothers in Watertown. The brothers, John and Joseph Shaldon, who founded the Davis Sewing Machine Company in February 1868 in Watertown, New York. The firm moved to Ohio in the 1890. Its early sewing machines were known as the Vertical Feed machines. These machines differed from others, in that there were two presser feet that moved and held the cloth as the needle went in and out of it. This type of action was also called ‘walking foot’ by makers of similar machines. Other machines used a feed dog below the machine’s bed to move the fabric. The Davis Company was awarded a Patents for its improvement to sewing machines. London offices were set up at 54, Queen Victoria Street, London in 1982. It was known as the Vertical Feed Sewing Machine Company. An article published in March 1885 states that the London Manager of the Vertical Feed Sewing Machine Company has 300,000 machines world-wide, including 4,000 in England alone. It claimed that the Auxiliary Forces Uniform and Equipment Company in Limerick, Ireland, was running its machines with steam power and could produce first-class work at the rate of 1,500 stitches per minute. The hand stitched binding of the manual is an example of early book binding processes. The is significant for its relationship to the Davis New High Arm Vertical Feed sewing machine, which was invented in 1866 and became popular in the domestic market. It was also used in industrial conditions as a labour-saving machine, one of the many machines that were part of the Industrial Revolution when steam power replaced manual power in many factories. Paper book with stitched binding. Printed text and illustrations contained within the 42-page booklet. The manual includes drawn diagrams and instructions for use of the Davis New High Arm Vertical Feed Sewing Machine, a foot treadle machine made in the 1880s. Front cover: "ILLUSTRATED DIRECTIIONS for the NEW HIGH ARM DAVIS Vertical Feed Sewing Machine and its Accessories and Attachments"flagstaff hill maritime museum and village, great ocean road, shipwreck coast, sewing machine manual, davis sewing machine, new high arm sewing machine, model 2 vf, vertical feed, sewing machine instructions, sewing machine directions, job davis, john sheldon, joseph sheldon, high arm sewing machine, watertown, new york, vertical feed sewing machine company, treadle, steam sewing machine, auxiliary forces uniform and equipment company, limerick, ireland

In May 1931 the Australian government announced a 20% reduction in expenditure, cuts to wages and pensions, and increased taxation. Despite workers striking, wages were reduced and working hours increased. The economy plunged into depression. Workers blamed the hardships on greedy bankers and the rich elite. The unemployed’ home-made, designed, knitted, painted and created things like pegs, pincushions, soaps, kitchen utensils and Pokerwork art, to sell door-to-door or in the streets. ‘Make Do and Mend’ was the mantra of the time. Making and mending clothing at home became a means to save money and an income offering services mending, altering or making clothes for the working people. Making over garments had been a time-honoured tradition since pioneer days. During the Depression clothes were a luxury and new fashions were created by altering old clothes. A best dress became a housedress, a church suit became a mine suit. Old shirts became new aprons, old trousers became new hats. Magazines and newspapers published Instructions on making and mending clothing and these became curriculums for sewing classes. Darning, mending, patching, saving fabric for rags, patches or upcycling became a necessity. Having a Sewing machine like this 1927 Singer housed in Oliver Gilpin’s store at Coal Creek Community Park and Museum could be the difference between survival and starvation The popularity of publications such as ‘Make do and mend’ lasted through the Second World War and into the 20th Century. Hand operated Singer sewing machine with wooden cover, circa 1927Y4476618

Anglican (Church of England) services began in Bacchus Marsh as early as the 1840s. In 1855 an imported iron building from England became the first permanent Anglican Church building in Bacchus Marsh. It stood close to the location of the Holy Trinity Anglican Church erected in 1877 which still stands in 2025. It was in use between 1855 and 1877. These type of iron structures were cheaper to erect and could be dismantled and moved to other locations when necessary. The Iron Church was brick-lined and could hold between 150 and 200 people. The Church was opened on 4 July 1855 by Hussey Burgh Macartney, Dean of Melbourne. It was later consecrated by Bishop Perry on 28 July, 1861. The cost of construction was around 1,000 pounds. In 1877 the Holy Trinity Church was erected. The Iron Church was dismantled and sold to to two local businessmen, George Marshall and James Reid. It was re-erected in July 1877 without its brick lining or steeple and is presumed to have been used as a shed at a location in Graham Street known as 'Webster's Brothers Yard', (14 Graham Street). Over time the structure deteriorated to the point that it could no longer be used. Remnants of the Iron Church could be seen for many years. In 1995 the remnants were described by Peterson and Catrice in the Heritage Study of Bacchus Marsh Shire in the this way, 'on the rear boundary, now used as an outbuilding, is the surviving fabric of the former "Iron Church". This has a gabled roof and had four pointed windows at sides. It is all clad in corrugated iron. Access was not possible, but a 1977 photograph shows Gothic tracery in a window'. This is a rare image of a prefabricated building in mid-nineteenth century Victoria. Prefabricated buildings were widely used in the early Colonial period of Victoria as a cheaper building option for new and developing communities. Most of these buildings did not survive in the long term and photographic evidence of these type of structures is an important record of an aspect of Victoria's architectural history.Small black and white 'carte de viste' style photograph mounted on card. The image depicts the first permanent Anglican Church building in Bacchus Marsh, the Trinity Church, also known as the Iron Church. The date of the image is thought to be about 1867.anglican church bacchus marsh, churches bacchus marsh, trinity church bacchus marsh, bacchus marsh iron church, prefabricated buildings

The Percy Uebergang family lived at Tooram Park, Allansford from 1912 until 1992. Percy and Myrtle Uebergang's children were twins, Ray and Joyce born in 1926 who lived at Tooram Park until their deaths, Ray in 1986 and Joyce in 1992. Neither Ray nor Joyce married and following the death of her brother Joyce set up the Ray and Joyce Uebergang Foundation which supports the local community. This photograph is part of the collection of items given into the care of the Cheese World Museum. Uebergang catalogue No.A220 Four generations of the Faragher family -great grandmother Jane Trigg (seated right), grandmother Sarah Wright (seated left), mother Elsie Faragher (standing at back) and baby Stan Faragher (seated centre front). Elsie Wright is Myrtle Uebergang's sister. There are two copies of the photograph -one a loose mounted copy (pictured), the other was framed. The wooden frame cost 3/9. A duplicate copy in the frame is on display. Black and white photograph of three women and a child. The old lady seated on the right is wearing a long sleeved dress/jacket with beaded bodice and a brooch at the neck. She has a white lace cap and net mittens. The woman on the right is wearing a tailored suit. The jacket has four buttons closure and two buttons on the turned back cuffs. A white blouse with wide pointed collar completes the outfit. The young woman at the back has her hair parted in the centre with plaited buns over the ears. Her frock has a self-fabric sash at the waist, six covered buttons down the front and decorative panels at each shoulder edged with beads. The wide white pointed collar sits on the shoulders. A white insert at the neck has a brooch attached. the child has long hair and wears a one piece outfit with short legs and buttons at the shoulder. His long sleeved shirt has a wide collar. He wears dark socks and button-up shoes.allansford, koroit, four generations, photographs, jane trigg, elsie faragher, stan faragher, sarah wright, myrtle uebergang

The Ballarat School of Mines was Australia's first School of Mines, which was established in 1870.Large letter book with rough calf spine and corners, green fabric cover, green marbled end papers, and leather spine labels. Sample letters are shown below Melbourne July 20/77 My Dear Maskelyne, The object of this note is to introduce Mr Barnard the Registrar of the School of Mines at Ballarat to you, and to your Department at the museum as a Correspondent. I presume you still collect specimens all over the world, and from time to time exchange with other museums. The Ballarat School of Mines is subsidized by the State, and is not unlikely to become our chief mining school if indeed it is not that already. As it is in the midst of an interesting geological district it may now and again be able to contribute something rare and valuable even to the British Museum, and on the other hand what is valueless to you may be of greatest use to us. You may place implicit confidence in Mr Barnard who has been connected with the School for years, and is an enthusiast in Scientific matters. Very Truly Yours Charles H. Pearson. P.E. Day Esq M.A. London My dear Sir I have the pleasure to inform you that I have this day written to Professor Maskelyns of the British Museum asking his help in the way suggested by Professor Pearson in a not of introduction with which he has favoured me, and copy of which is now enclosed. May I beg you to be so good as to call on Professor Machelyne make arrangement for the shipment of any case or cases of specimens which the may be able and willing to present to the School. Need I add that your prompt attention to this matter will be much esteemed by Yours faithfully W.H. Barnard Registrar Pro tem ballarat school of mines, correspondence, w.h. barnard, barnard

This Sikes brass hydrometer was manufactured by the optical and scientific instrument makers Kasner & Moss of 17 Collins Street West, Melbourne, in the latter part of the nineteenth century. The firm adverted hydrometers, as well as optical instruments, as early as August 13th, 1864, in The Age, Melbourne. This hydrometer set was donated to Flagstaff Hill in 1979 by local wine and spirits merchants Lynch Bros of Fairy Street, Warrnambool. Giffen Russell had established the business in 1878, and Harry Lynch took it over in the 1930s, and after he passed away in 1953 Kevin Matthew Lynch became proprietor of K M Lynch Food and Liquor. The business closed in the 2010s. The hydrometer may date back to the establishment of the business in 1878, as Kasner & Moss were selling hydrometers in Melbourne from 1864. Hydrometers were used to measure the density, or relative density, of liquids from the late 1600s. In 1816 Bartholomew Sikes won the competition for the most useful accurate hydrometer. Hydrometers were commonly used by distillers, vintners, and brewers to establish accurate measures of alcohol concentration in their beverages. Following this manufacturing process, government inspectors and excise officers used them to check that the labelled indications of alcohol-proof were correct and that the right amounts of duty were being paid. This hydrometer and its fitted and hinged wooden container show signs of heavy and protracted use in a working environment. Although the instrument has some parts missing and has been recently repaired, the original quality of the inlaid box and the fine engraving on the instrument and the attachable weights, are indications of the hydrometer’s very real value when new. This Sikes hydrometer, bearing the maker's mark of “Kasner & Moss Melbourne” and the registered number “20373”, was presented to the purchasing public as a precision-made instrument designed for professional use. The Sikes hydrometer is of local significance because of its implied association with the alcohol trade in the southwest region of Victoria. It was donated by a family member of Lynch Bros, a local licensed outlet for wines and spirits in the period before the general relaxation of liquor licensing laws in the State of Victoria. It may have belonged to Griffin Russell who established the liquor store in 1878.Hydrometer; original Sikes brass hydrometer in a polished wooden case with an inlaid plaque on the lid. The brass float is a sphere with a thin flat upper stem and a short, lower stem with a bulb-shaped end. The upper stem is engraved scale on both sides with the numbers 1 to 10, and five divisions between each number. There are ten fixed pegs in the base to secure the thick brass horseshoe-shaped, numbered, various-sized weights (20, 30, 40, 80, 90); the free pegs would have originally stored another five weights (10, 50, 60, 70, and 100). The empty compartment in the box suggests another part in the initial set, probably a thermometer. The fitted, fabric-lined box has two brass closures and two brass hinges. The scientific instrument shows signs of heavy use and repairs. The Serial Number on the float matches the Serial Numbers on the weights. The plaque on the lid, the float and the weights have inscriptions. Made by Kasner & Moss, Melbourne. Plaque: “SIKES HYDROMETER / KASNER & MOSS / MELBOURNE” On float's lower stem: “SIKES 20373” On one thin edge of the float's scale, engraved in script “Kasner & Moss” and stamped “MELBOURNE”, and symbol“P” rotated 90 degrees. On the opposite thin edge of the float: “N20.373”, “SIKES”, “I P % II O” (in ornate capitals). Each weight has s unique number, and the same serial number “20373”.flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, sikes hydrometer, scientific instrument, pressure measurement, measuring instrument, ullage tool, customs, excise duty, tax, alcohol content, proof, calibrate, standard weights and measures, tariff, kasner & moss, scientific instrument makers, specific gravity, liquid density, alcohol testing, technology, alcohol measurement, proof spirit, wine and spirits merchants, local business, brass measuring instrument, k m lynch, giffen russell, harry lynch

Clothing. White fine linen fabric, trimmed at lower leg with a 2 cms wide cotton , brooierie insertion and a 12 cm wide frill of textured (?) fine linen or cotton lawn broiderie. The front waistband dips to a central 8 cm deep peak. Waistband at side seams, is 4.5 cm deep and back waistband is 10 cm deep at side seams, and the 11 cm deep at centre back. Two 1.4 cm covered buttons close the back waistband. The knickers have a gathered opening panel, called at the time a ''drop-seat'' or ''access hatch'' at the centre back. This panel has a 5 cm deep waistband, fastened at either side by a covered button, and a third button at the centre. These buttons are sewn to the back waistband, and the button holes are sewn, correspondingly on the gathered back. A drawstring tape is also threaded through the back waistband. A 6 cm wide gussett sewn from the crotch extends 23 cms long.Printed in fine black ink on back opening; D.S.R.F. No 11.costume, female underwear, victorian era knickers

Very fine black and cream check silk lined in the bodice and sleeves with fine grey silk. Long sleeves are finished with a 4cm deep cuff, trimmed with a double row of cording, and a 1.5cm wide pleated frill. Two black shiny buttons trim the cuff(possibly plastic), which fastens with three press-studs. Waist is defined with one band of corded fabric. Two bands of cording outline the V neckline, which is also finished with a pleat frill. Cording, and three rows of hand - gathering outline a shaped frill at the hemline-alternately 31cm and 46cm deep. Seven black buttons fasten the front of the bodice. A placket extends into the skirt, fastened by four press-studs. Skirt has four knife pleats each side of the centre placket. Four knife pleats at each hemline, and six at centre back. These are all over-stitched with three double rows of stitching in a V shaped design. Hand stitched button holes.costume, female, black and cream silk dress

1975 World Swimming Championship California Games jacket. Shirt style long sleeved jacket of light green fabric with self stripe. Front opening fastened with four X 1.7 cm dark green plastic buttons. Single breasted. Fold over shirt collar. Long shirt style sleeves with 6.5cm cuffs, fastened with 1.7 cm dark green plastic buttons. Elastic stripe (13cm X 3cm) stitched across inside side seams (14cm) above hem. Two breast pockets (13 cm X 16 cm) with fold over V shaped flaps fastened with 1.7 cm dark green plastic buttons. Pocket on LHS has embroidered badge attached amateur Swimming Union, Australia, 2nd World C'Ships Cali 1975'' with a picture of a Kangaroo. Two pockets at hip level (16cm X 28cm) with fold over V shaped flaps fastened with 1.7 cm dark green plastic buttons.Label inside back neck ::Country Club;; ''Australia'' L 41-42 cm. Permanent Press, Polyester and cotton. ''Monaghan'' written in pen.costume, male, light green jacket

1968 Blazer - Mexico Olympics. Maroon single breasted collarless wool blazer. Fastened with three 2 cm metal buttons with wheel spoke pattern. Three internal front pockets with slit openings. LHS breast pocket has pink and black cloth badge (9cm X 9cm) stitched below pocket opening. Badge has embroidered symbols of an arm above three waves. Straight sleeves with 7 cm slit at wrist fastened with 1.5 cm metal buttons with wheel spoke pattern. Blazer has two 23cm side vents on the back. Half belt (fabric) 5cm X 38 cm across the back above side splits. Padded shoulders. Two internal pockets in the front lining. Blazer partially lined with mauve satin with small random check pattern. Sleeves fully lined. Enamel badge on RHS neckline (2.1 cm X 2.1 cm) - Olympic Rings, Gold coin, ''MEXICO'', green , white and red colour strips.costume, male, maroon blazer.

All edges (except hemline) ie sleeves, and centre front, including neck edge, are finished in perle thread, buttonhole stitched two cm wide scallops. Satin stitch, and cut work embroidery, in a floral design, are on the lower edge of the short sleeves and on the front bodice.The waistline has a four cm wide band of ribbon, in an insertion design,- but there is no ribbon insertion evident. This would be the only form of closure, from the waistline a slightly gathered panel,22cm deep, gives a peplum effect. Hemline is faced with a 1.7cm wide cotton facing. The ribbon insertion panel has alternating 1.2cm wide floral embroidered ribbon and one cm wide plain ribbon. Magyer sleeves-extending from the side seam just above the waistline - bodice all one piece of fabric - no seams.Accompaning note - No date. The bloomers (11400.931), belonged to Antoinette Catling of Bendigo and were part of her trousseaux. They would be 80+ years old. The linen bed jacket would be about the same age.costume, female, white linen bed jacket

This dress is of uncertain provenance. BHS records indicate that it was owned by Marion Jane Ellen Devlin, nee Stokes (1845-1936), who married Oliver Devlin on 2 April 1877 in Victoria. The dress is believed to have been worn on the Bendigo goldfields circa 1878. It may have been worn as a wedding dress. However, additional documentation discovered in August 2019 suggest that the dress belonged to Margaret Cocking, nee Carr (1850-1936), who married Gustavus Cocking in Bendigo in 1877.A grey-green circa 1878 dress comprising a matching jacket and skirt. The jacket (.1) features a standing collar that gathers to a low point at the throat. This point is concealed behind a bow with raw edges which may not be original. The centre front of the jacket has been secured with nineteen concealed metal hook and button holes. The centre front features fifteen sets of single fabric covered glass buttons secured in a diagonal pattern and appearing as double headed buttons. From the shoulder through the body the jacket is shaped with decorative panels with grey silk detail. Beside these panels shaping into the waist and under the arm are a further two pleats. On the left side waist is a small pocket with decorative flap, grey silk trim and button. The base line of the jacket features a decorative horizontal panel that wraps around the jacket. The sleeve head is small and sits on the natural shoulder line with a slim fitting, curved, full length sleeve. At the base of the sleeve, there is a decorative panel reminiscent of a formal cuff, with a decorative turn back and two buttons. Secured underneath this turn back is a bow like decoration. From the back the jacket features a V shaped decoration, an extension of the front two decorative panels. From the shoulders the jacket is shaped by four panels curving tight into the waist and flaring out again to fullness of the bustle. These seams are also finished with decorative binding. This peplum-like shape features two decorative flaps and six covered buttons. The skirt (.2) is shaped to the waist with pleats and secures on the front left hand side, the original waistband and fastenings have been replaced. The skirt front features a large decorative panel of the same fabric that curves from the front at approximately shin length, upwards towards the back securing underneath the bustle decoration. A second panel, plus a pleated panel finish the hem of the skirt continuing around to the back. At the back the skirt features two deep pleats with a large decorative bow that would sit out over the bustle. The skirt is long featuring a small train at the back. The dress is lined in a brown waxed cotton.wedding dress, 1870s fashion, marion jane ellen stokes, oliver devlin, margaret carr, gustavus cocking, bendigo

The donor was given this doll about 50 years ago by her grandfather (in the late 1960s). He used to be a handyman at a high rise building in St Kilda, Melbourne. He had been doing some work for one of the old ladies and she gave him the doll to give to his granddaughter, who collected dolls. The doll has spent a few years at the Nagambie museum until it closed down and returned to the donor The origins or age of the doll are unknown. Originally it was thought to be a Fashion Doll dating from around the 1880s but the painted face together with the bisque legs and gold painted shoes are similar to those found on Boudoir Dolls (also known as Bed Dolls, Sofa Dolls, Flapper Dolls and French Dolls) of the early 20th century. Fashion dolls were sent from fashion houses to advertise the latest styles, fabrics, trims, hairstyles and accessories. Dressmakers would show these dolls to their customers. Ladies would then place their order and the dressmakers would make the dress to their size. The dressmakers would learn the construction techniques from examining the dolls. Boudoir Dolls dolls usually had no maker's marks and were primarily used as bedroom decorations for ladies rather than as children's toys. This doll appears to date at about the early part of the 20th century, but the petticoats are much older - possibly from a child's christening gown. At the time that the donor received the doll, it had a coloured lace over-gown that was badly torn so her mother removed it to replace with more lace but this never eventuated. The pink silk dress also appears to have been remodelled into a 19th century style with gathered sleeves and a gathered skirt. This fashion or boudoir doll is significant for being a rare example of a doll made in the late 19th or early 20th centuries. The doll is wearing clothing representing the fashion for young girls in that era. The doll is also significant as an item possibly used by fashion houses and dressmakers to advertise the latest fashions in clothing, trims, accessories and hairstyles. A doll such as this may have been found in a Victorian dressmaker's premises for use as a pattern and technique template and for a display to customers. It may also have been used as a decorative item in a lady's bedroom.Female boudoir doll with silk face and body, and porcelain lower arms and legs. She has plaited blonde silk hair. Her painted face has brown eyes and her shoes are painted gold. The doll is dressed in a long pink puffed-sleeve dress with a gathered waist and a ruffle at the hem. A pink ribbon around her waist is tied at the back. There are small silver balls hand-stitched around the neckline. She has a white, hand-embroidered lace petticoat and bloomers.warrnambool, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, doll, boudoir doll, female doll, dressmaker's doll, display doll, late 1800s doll, fashion doll, antique doll, 19th century doll, children's fashion, girl's fashion, late 1800s children's fashion, early 20th century doll, composite doll, french doll

This item of underclothing, called a "combination" is one of several linen and clothing items belonging to the deceased estate of Susan Henry OAM (nee Vedmore 1944 - 2021) that was donated to Flagstaff Hill Maritime Museum and Village. Susan's family (Harold and Gladys Vedmore) immigrated to Australia from Wales in 1955 and settled in Warrnambool. Susan was well known in the Warrnambool community for her work supporting children and families across the district - particular those with disabilities, or those who were homeless, unemployed or isolated. Susan was the founding trustee of the "Vedmore Foundation" - a Warrnambool philanthropic trust set up in 2010 to support a range of charitable and not-for-profit causes by providing grant assistance. In 2021, she was awarded a Medal of the Order of Australia for services to the community. Combination undergarments combined the chemise and drawers into one garment. The combination is divided, or bifurcated, from the waist to the crotch for easier urinating. This one-piece type of underwear was worn by females from the 1860s and into the early 1900s. The 19th Century garments had front button closures like this one, and those made in the 1900s more often had back closures. Combination underwear was popular because the all-in-one design had far fewer gathers and bulk, making the other clothing look much smoother. Their primary use was to protect clothing from perspiration and because they were made with cotton or linen, were easy to wash. This particular item is made with lawn (a very lightweight fabric) and is sleeveless, making it suitable for hot weather. Although they were worn under the corset next to the skin (and therefore not meant to be seen), they were often decorated with lace or embroidery. This item is an example of the needlework skills of women in the late 19th century - using machine stitching and lace to personalise and embellish a practical item of clothing. It is also significant as an example of a practical solution to the difficulties that women of this era faced with regard to the washing of clothes and household linens.Lady’s white lawn and lace all-In-one combination undergarment. The handmade underwear is a combined chemise and bloomers. It has four buttons in the front and is trimmed with lace on the neckline, armholes, bodice (in a diagonal design) and legs. The left and right sides are divided from the waist to the crutch. The back of the garment is plain with a gathered section at the lower back.flagstaff hill maritime museum and village, great ocean road, combinations, lady's combinations, undergarment, lingerie, handsewn, underwear, clothing, victorian era undergarments, lady's garment, susan henry oam, vedmore foundation

Clothing. Beautiful deep cream silk bodice, fully lined with cream tulle/net. Elbow length sleeves have a semi-circle of embroidered silk, and an embroidered tulle ''flounce'', edged with cream cord - 17 cms long. The bodice has seven pin-tucks, angled from the shoulder to the waistline on each side of the front and back. Between the pin-tucks at centre front panel is an extensive cream silk, floral embroidery. A rounded neckline at front and back, is in-filled with embroidered tulle - small 1 cm diameter flowers, in a 3 cm diameter circle, defined by 12 small (3mm) embroidered circles. The tulle infill extends to a 7 cm high stand-up collar-supported by seven plastic ''bones''. The collar also features the same, circular, floral embroidery, and is also edged at the throat with cream cording. The bodice while in good condition, has been cut at the hemline, and a 10.5 cm strip of fabric has been added but unfinished. 18 metal hooks, and hand-stitched loops fasten the back of the bodice. Sleeves are an extension of the bodice.costume, female, cream silk and tulle bodice

High waisted bodice, with centre front seam, back opening fastened with metal press-studs, and finished on the right side, with ball-shaped pearl buttons sewn in pairs - six groups of two. A placket extends into the skirt at back, and is fastened with metal press-studs. Bodice is gathered onto skirt at waistline, and defined with a 1.5cm wide tape. An 8.5cm wide cotton lace frill is gathered around the high neckline. The wrist-length sleeves are an extension of the bodice and have a 4cm band, and 4cm wide gathered frill at the wrist. The sleeves are shaped from the high waistline, and also at the cuff edge. The skirt has an overlay of fine lace, made up of six X 17cm wide bands of lace, with a scalloped edge. No shoulder seams. Back opening and centre front seam indicate the cutting out layout of fabric. A one cm wide ribbon finishes the neckline, and the lace frill is hand stitched to the ribbon. Some seams are hand neatened. A 2.5cm wide flat bow finishes the back neckline.costume, female, cream satin and lace wedding dress

Long lily-pointed sleeves, fastened at the wrist with six X 0ne cm covered buttons and loops. A firm padded roll 19cm long, and eleven cm circumference sits at the shoulder at top of sleeve. A gathered panel on either side of the neckline forms a sweetheart neckline. Gathering under the bust, and a A shaped centre front panel - with V shape at lower edge-panel 33cm long. Two semi-circular panels 28 X 19cm from side seam to the centre front, and defining the shape of the peaked centre panel. A small inverted pleat comes from th ebottom peak of the centre panel. Skirt is circular and extends into a sweeping train.29 covered buttons with loops extend from the back neckline to the curved join at the hipline of bodice and skirt. A one cm band of fabric has been machine stitched around the hemline, and hand rolled and hand stitched to give weight and finish at the hemline. Two X 2.5cm loops, hand stitched are at the left and right sides, to slip over the fingers to hold the train above the ground.costume, female, cream wedding dress with extended train

Leather, oval shaped hat box (in which is stored a men's silk top hat - 11400.834). Lined in blue velvet, and blue silk. Looped handle, 29cm long, attached with 2.5cm circular metal studs - possibly brass. An oval shaped insert, lined with blue velvet and silk, hold the inverted top hat. This hat was owned by John Sargood ( refer enclosed notes) whose initials are marked on trhe hat-box - J.S. - two cms high. An internal strap of black fabric, has a leather tab at one end with a metal key shaped fastener. Unfortunately the other end is broken off. This strap would hold the hat in the cavity. An outer leather strap, 4cm wide passes over the lid, and fastens at a 6.5cm diameter, circular metal disk with key lock. End of this strap is also broken - a piece of leather is inside the hat box. Strap is marked with a two cm high letter H which lines up with the owners initials when closed J.H.S..Sargood Family Notes in Clothing Box 157.costume accessories, male, leather hat box

Clothing. Pointed lapel collar, with underside of collar lined with felt. Two brass metal badges in a Leidertafel style - one on each side of collar. Cloth circular badges at the top of each sleeve are embroidered with a coat-of-arms, below which are two shields, one blue, and embroidered with a bunch of grapes, one red embroidered with a sheaf of wheat, a sheep, and perhaps a symbol of the landscape. Two breast pockets, rectangular with rounded lower corners and a shield shaped flap, closed with a 2 cm brass button impressed with a laurel wreath, and horn, suspended by a cord, and triple loop-a replica of British Light Infantry buttons. Two lower ''pockets'' are flaps only, giving the impression of a pocket only. Jacket lined with blue taffeta-like fabric-possibly polyester. One internal bound pocket inside right front. Four 2.5cm brass buttons (as on pockets) at centre front opening. All buttons have a metal back, and metal loop, which enables the buttons to be pinned to the garment, enabling removal for cleaning purposes.On inside breast pocket: A Quality Garment by Australian Government Clothing Factory. On back of buttons : Stokes Australia.costume, male ceremonial, marong municipal band blazer

Copy of a Heritage Trade & Services Directory Edition 1, dated April 2001. Compiled by City of Greater Bendigo Heritage Advisory Committee. Front cover has an oval picture of part of a building with scaffolding in front of it. Listed are: Architectural Hardware; Architects; Blacksmiths; Brickwork - General; Builders; Castings - Iron and Non Ferrous Metals; Cement Decoration and Rendering; Chimney Pots; Chimney Restoration; Chimney Sweeps; Colour Consultant; Concrete - Pre-cast; Damp Control; Drafting Service; Fabric; Fencing; Fire Mantels and Inserts; Floor Coverings; Furniture Restoration and French Polishing; Garden Renovations; Glass - Etching; Glass - Leadlighting; Guttering, Galvanised Iron and Sheet Metal Work; Interior Decorating; Joinery and Carpentry; Light Fittings; Masonry Cleaning; Paint; Painters and Decorators; Paint Stripping; Plasters and Associated Products; Resurfacing - Enameling; Resurfacing - Powder Coating; Restumping and Underpinning; Roof Restoration - Iron; Roof Restoration - Slate; Roof Restoration - Terracotta; Second Hand Materials; Stone - Quarries and Cutting; Stonemasons; Tile Layers; Tiles; Turning and Verandah Roofing.bendigo, history, long gully history group, the long gully history group - heritage trade & services directory, heritage advisory committee, city of greater bendigo

The collection of thirteen model horse drawn vehicles were carefully handmade by Mr Chas W Davis 1925 - 2002. He was a talented artist and saw doctor. This model of a horse drawn Canestoga Wagon replicates the vehicle that enjoyed respect from the public during the 1880's. A model of a long covered Conestoga Wagon with two horses, brown and tan. The cream fabric covers curved shaped metal bands and is laced with string around the base to attach it to the wagon.It has a green base, green wooden seat and footrest. There are two wooden barrels attached by wire on one side and the other side has a luggage box. It has two small gold painted spoked wheels with painted black tyres at the front and two larger ones at the back. The forerunner of the Conestoga Wagon had its origin in Europe as a mobile home for shepherds and nomads in the early 1800's. The east coast of America became home to people from all over Western Europe so the old wagon designs were carried to the New World. The wagons were named after a river in Lancaster County Pennsylvania where the Stutz family built them for the western treks of history. Fondly known as the 'Prairie Schooner', the cost in 1840 was $48.00, unpainted spare wheels $8.00, Lawson axles $12.00. They came in 12 and 14 feet beds.replicas, models, scale models, vehicles, carriages, horse drawn vehicles, toy horses, drays