This hat and hat box was donated to Flagstaff Hill Maritime Village by the family of Doctor William Roy Angus, Surgeon and Oculist. It is part of the “W.R. Angus Collection” which includes historical medical equipment, surgical instruments and material once belonging to Dr Edward Ryan and Dr Thomas Francis Ryan, (both of Nhill, Victoria) as well as Dr Angus’ belongings. The Collection’s history spans the medical practices of the two Doctors Ryan, from 1885-1926 plus that of Dr Angus, up until 1969. McDade is the surname of Dr Angus’ daughter Berry (Berenice) McDade nee Angus. This had belonged to her father Dr William Roy Angus, Surgeon and Oculist (1901 –1970), who wore it on the ship T.S.S. LARGS BAY when travelling from Australia to Scotland for extended studies to be a “Fellow” of the Royal College of Surgeons in Edinburgh in 1929. This bicorn, cocked hat was worn with narrow points towards the front and back. It is decorated with flat gold braid or ‘lace’ with a geometrical design. Regimental lace was worn on the uniform and headdress of regimental officers in the 19th century. Gold lace chevrons were worn on coats to signify rank. Drummers and Foot Guards also wore regimental lace to distinguish them from other military personnel. In the late 19th century the English and Welsh infantry officers’ uniforms displayed a rose-pattern lace. The gold bullion and underlying crimson ‘eyes’ have been used to signify the rank of the owner. Crimson eyes were used for military personnel, and blue eyes were used for naval personnel. Different numbers and colours of the bullion and eyes may have been used to represent different military ranks. The Regulations specify nine tassels and eleven underlying eyes but there could have been variations. We have not yet identified the rank for this particular hat but hats such as this were part of the Australian and British naval uniforms in the early 20th century. The gold button’s emblem features a cross with five stars, a crown, and the motto “AUT PACE AUT BELLO,” which translates as “either in peace or in war.” Museum Victoria has a similar button and writes that buttons with this design were used by the Victorian Volunteers in the nineteenth century. The Australian War Memorial Curator of Military Heraldry advised Museum Victoria that these buttons dated from 1880 to 1892 and were worn by regular, unranked soldiers. Tasmanian Midshipman Alan Casey, who served the British and Australian Navy from 1919 to 1933 and retired as a Lieutenant Commander, owned a similar officer's bicorn hat. His hat and epaulettes are in the Tasmanian Maritime Museum's collection. The Australian War Memorial has a hat that is very similar in design, described as an “Artillery Staff Officer’s cocked had with plume, worn by Volunteer Artillery Staff in the Victorian Colonial Military Forces”. That hat is different in that it has a plume and the braid and button are silver. Berry MdDade, the donor, has used the hat many times as a dress-up hat but doesn’t know the origin of it. The hat seems to fit the design of the Staff Officers in Victorian Volunteers in Colonial times, but the button on this hat was used for unranked volunteers. Also, military uniforms usually have very clear manufacturer’s labels, as they are made by reputable companies under contract to the Defence Department. The manufacturer’s mark is not discernible on this hat. The origin, original wearer and use of this particular hat is unclear. The military bicorn cockade hat belonged to Dr William Roy Angus and is part of the W.R. Angus Collection. It is significant for still being located at the site connected to Doctor Angus being the last Port Medical Officer in Warrnambool. The collection of medical instruments and other equipment is culturally significant, as an historical example of medicine from late 19th to mid-20th century. Dr Angus assisted Dr Tom Ryan, a pioneer in the use of X-rays and in ocular surgery. Black bicorn cocked hat and case. It appears to be part of a 19th-century Colonial full-dress naval officer's uniform. The long, narrow crescent-shaped hat is made of beaver fabric and the crown is lined with crimson silk and finished with a hand-stitched leather sweatband. On one flat side is a pleated black silk, lace cockade woven in the pattern of oak leaves and acorns. The cockade is overlaid with a double row of gold lace braiding secure with a Victorian Volunteer’s gold button. Wide diagonal bands of black lace braid trim are on each side of the gold braiding. The other side of the hat is plain. The front and back points of the hat each have seven gold bullion tassels with nine underlying twists of crimson ‘eyes’. The fitted metal carry case has a catch and a plaque on one side. The button bears a crown and cross with five stars and a motto. Inside the hat is a white name tag with clear adhesive over it, with black printed text with the name “Mc Dade”. The hat is part of the W.R. Angus Collection.The hat has no maker’s marks although there is a darker colour in the centre where there could have been a label. Inside the hat is taped a printed label; “Mc DADE 801 1032” Button’s emblem- a cross with five stars, under a crown, all within a buckled belt with the motto “AUT PACE AUT BELLO” [either in peace or in war] The plaque on the case has no legible marks.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, dr w r angus, t.s.s. largs bay, berry mcdade, 19th century colonial military uniform, artillery staff officer’s cocked had, victorian volunteers, victorian colonial military forces, colonial militia, aut pace aut bello, cocked hat, cockade hat, bicorn hat, military bullion, oak leaves and acorns pattern, gold bullion tassels, military heraldry, w.r. angus collection., australian navy, british navy, uniform

Copy of Godfrey Hirst family videos/photograph on CD. Including 1951 floods at Mill. All video content filmed at Godfrey Hirst Woollen Mill, Swanston Street, South Geelong. Godfrey Hirst's children. Family home in Newtown and holiday home in Eastern View.Compact disc (CD) containing colour video footage. Film has no audio content. Visual content outlined below: 00:00 – 00:05 – External view of brick building – Godfrey Hirst & Co. Pty. Ltd. 00:05 – 00:10 – Exterior garden setting, three men in suits with fabrics and object 00:10 – 00:28 – Exterior garden setting showing eight women, most likely on a break from working at the Godfrey Hirst factory. The footage shows them all getting up and walking back towards the building at the end. 00:28 – 00:38 – Exterior garden setting, showing seven men in white shirts and ties seated and standing around a table, turning pages on a folder on the table. 00:38 – 00:52 – Interior factory setting, showing four men in coats handling green and red wool. 00:52 – 1:08 – Three men in suits in an exterior garden setting looking at paperwork. 1:08 – 1:23 – Four men in coats in a garden handling coloured wool samples. 1:23 – 1:42 – Four men in suits in a garden setting handling woven fabric. Two of the men are holding pipes. 1:42 – 1:57 – Interior factory setting showing men operating machinery. 1:57 – 2:05 – Exterior factory setting showing a man driving machinery carting wool bales. 2:05 – 3:14 - Flood scenes, showing the exterior of the Godfrey Hirst building with a man rowing a boat down the street, and a horse and cart in flood waters. There are scenes of flooded streets, exterior of flooded buildings and people standing in flood waters. 3:14 – 3:40 - Interior building views of flood waters in factory with people, machinery, equipment and textiles in flood waters. 3:40 – 4:03 - Exterior views showing a tractor, boat, horse and people in flood waters. 4:03 – 7:02 Exterior setting showing crowds of people watching a fashion parade. The fashion parade is of women in various clothing, including suits jackets, skirts, coats and hats. 7.02 - END"Hirst family films 1936-1964 Incl. Godfrey Hirst and co P/L Woollen mills"geelong, godfrey hirst & co. pty. ltd., family films, factory, flooding, 1950s, wool processing, fashion, textiles, horse and cart, wool bales, transport, machinery, fashion parade, working life

Ann Austin of Melbourne was the name of a Melbourne millinery house. Thelma Prentice was one of the partners in the house, and the chief designer/milliner. Very little information about the millinery house and the milliner are available online but there is an interesting article, published in the Brisbane Courier Mail on 8 October 1949 which describes the influence of French style on fashion and design in Australia. The article by Lucy Gough recounts the views of Thelma Prentice who had just returned from the Paris fashion shows. "Australian millinery toes line with Paris From LUCY GOUGH LONDON, October 7 (Special) Australian hats can compare very favourably with those designed in Paris, and are considerably cheaper, says Miss Thelma Prentice, partner in a well-known Melbourne millinery firm, who has just completed six months' visit to England and the Continent. An ordinary hat, Miss Prentice said, would cost at least £15 from any of the top Paris houses. Australia could achieve the same effect for a lot less money. Miss Prentice went to all the Important dress shows as well as the millinery houses in Paris, because she believes that millinery is an accessory to fashion and to obtain the best idea of new trends hats must be shown with frocks to get a complete follow-through and tie-up between the two. At their packed shows, with standing room only, Path and Dior were selling hats they designed, faster than many well known Paris millinery houses, Fath's favourite line was the becoming 'wing treatment,' which he achieved by a profile flattering side swing of material jutting out almost 10 inches from the face. This was completely different to the side drape already seen in Australia. Dior, as a direct contrast, was specialising in skull hats, which almost followed the hair line, to show very little hair at the back of the head. His cocktail hats were heavily sequinned and beaded. Every model was designed exclusively for short hair, and Miss Prentice, whose own hair is beautifully short cut by a Paris hairdresser, said that French mannequins' hair was so abbreviated at the back it was almost a semi-shingle. Hats generally she found were plain, with sharply angled self trimming, and black one of the most popular colours." The hat was donated by Kathleen Gervasoni, a resident of Kew, and during the 1970s a Mayoress of the former City of Kew. The Kew Historical Society’s fashion and design collection is comprised of costumes, hats, shoes and personal accessories. Many of these items were purchased or handmade in Victoria; some locally in Kew. The extensive hat collection comprises items dating from the 1860s to the 1970s. While most of the hats in the collection were created by milliners for women, there are a number of early and important men’s hats in the collection. The headwear collection is particularly significant in that it includes the work of notable Australian and international milliners.High crowned hat made of burgundy felt with decorative pink jersey turban folds attached to the side by clusters of pink beads. The hat was designed by Thelma Prentice of the ' Austin of Melbourne' millinery house. Label, inside centre crown, woven in black on white polyester: *ann austin / OF MELBOURNEmilliners, hats, ann austin of melbourne, thelma prentice, australian fashion - 1960s, kathleen gervasoni

This item of underclothing, called a "combination" is one of several linen and clothing items that were made and belonged to Mrs. Eliza Towns and donated to Flagstaff Hill Maritime Museum and Village. Eliza was born Eliza Gould in 1857 in South Melbourne (Emerald Hill) and in 1879 married Charles Towns. In the early 1880's they moved to Nhill in western Victoria and remained there for the rest of their married life. Charles was a jeweller and later became an accountant and for many years was involved with the Shire Council, the local show committee (A & P Society), the Hospital Committee and the Board of the local newspaper (the Nhill Free Press). They had three children and lived a life that would be regarded as comfortably "middle class". Eliza probably had a treadle sewing machine and would have made many of her own clothes as well as clothes for her children - adding her own handmade embroidered or crocheted decorative trim. Combination undergarments combined the chemise and drawers into one garment. The combination is divided, or bifurcated, from the waist to the crutch 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. Although they were worn under the corset, next to the skin (and therefore not meant to be seen), they were often decorated with lace and embroidery. Although these combinations are made with a plain cotton fabric, Eliza Towns has incorporated pin tucks, hand embroidery and crocheted lace to embellish her garment. The collection of women’s late-19th-century undergarments is an example of clothing that women would include in their wardrobes. The garments add to the study of the evolution of women's fashions and practicality for the early Australian settlers. The careful needlework in these handmade garments and hand-worked lace trims reflect the maker’s dedication to making even serviceable garments beautiful to look at and wear.Women’s white cotton and lace all-In-one combination undergarment. The handmade underwear is a combined chemise and bloomers. It has three buttons in the front and a handmade drawstring cord around the square neckline. It is trimmed with crocheted lace (with a floral design) on the neckline, sleeves and pants. It had pintucks and feather stitching on the bodice and 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, maritime museum, maritime village, warrnambool, great ocean road, victorian era, combination undergarment, all-in-one underwear, combination, ‘combinations’, one-piece underwear, one-piece undergarment, chemise and bloomers, combination chemise and bloomers, divided, bifurcated, split, chemise and drawers, women’s underwear, ladies’ underwear, undergarment, women’s clothing, women’s fashion, lingerie, 19th-century undergarment, handmade clothing, handmade lace, crocheted lace, towns family, nhill, eliza towns

Frank Wright was a renown resident of Smeaton, where he was born. He lived at Laura Villa, and attended Smeaton State School. His father William was a gold miner and his mother's name was Sarah. Their family won many singing and instrumental awards. Frank was tutored by Percy Code and was awarded a gold medal for the highest marks in the ALCM examinations in the British Colonies at the age of seventeen years. He became the Australian Open Cornet Champion by the age of eighteen. A year later, Frank conducted the City of Ballarat Band, and later the Ballarat Soldiers’ Memorial Band. He formed the Frank Wright Frisco Band and Frank Wright and his Coliseum Orchestra. These bands won many South Street awards, and Frank as conductor won many awards in the Australian Band Championship contest. In 1933 Frank Wright sailed to England to conduct the famous St Hilda’s Band and was later appointed Musical Director of the London County Council, where he organized many amazing concerts in parks, in and around the London district. He was made Professor of Brass and Military Band Scoring and conducted at the Guildhall of Music and Drama. Frank was often invited to adjudicate Brass Band Championships around Europe, in Australia, including South Street and in New Zealand. The Frank Wright Medal at the Royal South Street competition is awarded to an individual recognized as making an outstanding contribution to brass music in Australia.A series of 11 black and white photographs and one paper receipt. 1,2,4 & 8 are of Frank Wright conducting a large orchestra on a stage, the front of which is dressed in gathered fabric with floral tributes along its length. In the foreground the audience can be seen and the background of the stage is black with four white frames containing floral bouquets. The roof with large square lights can also be seen. 9-11 are front views of Frank Wright holding his baton and conducting the orchestra. In the foreground, the rear of the head of a violinist can be seen and in the background the audience can be seen fading out of sight in the darkness of the theatre. 3,6 & 7 are of Frank Wright with various groups of people at a reception. In two he is seated and in one he is standing. He is holding a glass of wine in two and has a plate, napkin and cutlery in the other. 5 is a photo of Frank White inspecting the cornet of a uniformed, young man who is part of a brass band. They are standing with the band in an outdoor venue with an audience seated on tiered rows in the background. 12 is a printed black ink on white paper receipt on which is the handwriting is in blue ink. It is for the cost of the photographs.Printed on the back of photographs - Copy-right, Jo Pottgens, Old Hickoryplein 4, Kerkradefrank wright, kerkrade, conductor, cornet, orchestra

This unique aircraft was conceived in 1943 as a two seat trainer. A very large part of the design work can be attributed to Jock Barratt and Harold Bradley. The general layout adopted is similar to the Kite I and Kite II single seat sailplanes of Martin Warner and Allan Campbell. Having regard to this heritage, the glider was originally named Kite III but renamed Pelican 2, perhaps because it was the second two seat training glider built by the Waikerie Gliding Club – the first being the Pelican, a reconfigured Pratt Utility glider. Pelican 2 was first flown in 1952 and regularly since then, at least until about 1992. The Pelican 2’s performance was found to be very good for sailplanes of its era and was often used for more advanced flying in addition to training new pilots. Very few changes have been made to the Pelican 2 over the years. The undercarriage was modified after its initial testing to improve the placement of the wheels. The trailing edge of the rudder (originally straight) was rounded adding to the surface area. The twin shoulder tow line bridles were replaced with a belly hook when aviation design rules declared shoulder bridles dangerous and a nose hook has since been added to allow for aero-towing. A unique home grown sailplane design associated with Australian gliding pioneers Wooden 2 seat glider sailplane with fabric covering. Distinctive features include the pod and boom fuselage with side by side seating for pilot and a second person. The canopy of perspex supported by aluminum framing opens with port and starboard segments separately folding upwards and forward. The instrument panel includes altimeter, airspeed indicator, slip indicator and variometers. In addition to the usual controls, there is a trim operated by a small wheel mounted centrally, at head height, on the bulkhead at the rear of the cockpit. Incorporated in the skid under the fuselage pod are two wheels (one approximately midships and the other at the rear end). It has a three piece cantilever wing of approximately nearly 17 metres. The ailerons run almost full length of the outer wing segments. A Gottingen 426 section has been used changing to M6 at the tips. Outer wing segments are joined to the centre section to give about 300 mm of dihedral at the tips. The glider is equipped with airbrakes. The colour scheme consists of orange fuselage with black nose and skid. The tailplane / elevator and rudder are painted white. The wing is predominantly white with an orange leading edge. Registration VH-GFY On each side of rudder – “Pelican II” in black lettering on a rectangle of silver On each side of fuselage pod the letters ‘FY’ On each side of the fuselage, below the edge of the cockpit opening – “WAIKERIE” in black paint. australian gliding, glider, sailplane, kite, pelican, waikerie gliding club, jock barratt, harold bradley, martin warner, allan campbell

Clothing. Woman's black silk brocade bodice. High round neckline with full length front opening fastened with 13 metal hooks and eyes. Bodice fully lined with black cotton fabric and shaped in at waistline. Seven casings for boning - two on each side of front, one on each side seam and one at centre back (18cm X 1.3 cm). Casings reinforced with bright yellow cotton stitching. Cotton tape casing at hemline at waist. Long straight set in sleeves extending to a rounded shape over the back of the hand.Cross over front outer layer fastened with three hooks and eyes at the top and one at the waist. Panels of black lace run from shoulders to waist on either side of a centre insert panel (12 cm X 15cm) with five horizontal strips of velvet ribbon. Below the insert are three 7-9cm wide black lace ruffles with khaki green embroidery (Jabot effect). The back has a deep V shaped insert of vertical pin tucks and black lace, from across the shoulders to centre back. Pin tucks also on either side of front neckline.costume, female, woman's black silk brocade bodice

A dress belonging to the family of George Ward Cole in the late 1800s; possibly his wife Thomas Anne Ward Cole or one of his daughters, Margaret or Agnes. George Ward Cole was an early member of the Victorian Parliament and the family featured prominently in Melbourne Society in their time. They established a substantial home known as “St Ninians” at 10 Miller Street in 1841. The family reportedly entertained Melbourne’s first Royal visitor the Duke Of Edinburgh, Queen Victoria’s second son at St Ninians in 1867. In later years St Ninians was subsequently subdivided and later demolished. A hand sewn, brown silk, evening dress, circa 1860, consisting of a bodice and skirt. The bodice features an off the shoulder neckline edged with cream lace. A chevron design of black velvet trim, passes from the shoulders to the centre front waist, then hangs loosely to the hip line. The black velvet trim on the sleeves and the skirt is edged with a black fringe. The bodice (.1) base is finished in a v-shaped front at the natural waistline. There are short puffed sleeves also feature the black velvet fringed trim and lace at the edge along with three epaulette style strips, which pass from the shoulder seam to the edge of the sleeve. Each strip finishes with a decorative bobble. The bodice lining is cream glazed silk with steel boning, cotton tabs sewn into both sides have four eyelets for lacing. The dress has a full, floor length unlined skirt (.2) which is slightly longer at the back creating a modest train. The skirt has horizontal bands of the velvet trim and finishes with a box pleated trim of the dress fabric. The dress is fastened at the back using two connecting rows of black velvet covered buttons.brighton, st ninian's, 1860s, evening dress, george ward cole, thomas anne ward cole, margaret morison ward cole, agnes bruce ward cole

The Australian Sports Medal award was instituted in the year 2000 and awarded for 2000 and 2001 before being discontinued. The medal has been reinstated for awards in 2020.The medal recognizes the efforts of a range of Australians, including former competitors, coaches, sports scientists, office holders and those who maintained sporting facilities and services.Australian Sports Medal and miniature and presentation box awarded to Val Campbell in 2000. The medal is a round shape of silver coloured metal suspended from a yellow ribbon with four green stripes. The design on the obverse is the five stars of the Southern Cross constellation above four horizontal lines. On the reverse are the same four horizontal lines as the obverse with the engraved words To commemorate Australian sporting achievement forming a half circle around the top edge and the words Valma Marion Campbell engraved above the four horizontal lines.The year 2000 is engraved below the four horizontal lines. A clasp to affix the medal to clothing is attached on the back of the ribbon. The miniature is a replica of the medal itself and is identical in every respect except for the engraved name on the reverse. The presentation box is encased in black leather like fabric and is padded on the lid with the words Australian Sports Medal stamped in silver. The box is line with white satin on the inside of the hinged lid with the medals resting in a moulded black velvet covered tray. Certificate accompanying the Australian Sports Medal and miniature and presentation box awarded to Val Campbell in 2000. 'To Valma Marion Campbell' See 11209.107recreations, sports, swimming

Poster, printed on coated fabric, wooden hanger on top. Yellow background, printed in red and blue. 'Code of Signals, Section 45 (19) of the Mines Act 1961. lode and alluvial mines, signals for winding' Signals: 1 stop when in motion, 1 heave up, 2 lower, 3 hold fast danger, 4 pause men coming to surface, 6 cage at liberty, 7 change tanks or cages, 8 put drum in or out of gear, 9 turn air on or off, 10 accident, 15 serious accident. Also lists firing signals. Advertisements for suppliers to mining companies around border of poster. E.g. Jaques Bros., Engineers, Coppin Street, Richmond, Melbourne. Ore and Stone Breakers manufactured in various sizes (has illustration of machine). James Hardie & Co., 581 Little Collins Street, Melbourne. Necessaries for success in mining enterprises are: Dick's original balata belting to drive your machinery with; Genuine Dodge wood split pulleys on the shafting, and fibro ciment(sic) sheets to protect you from fire. These sheets are also acid-proof.bendigo, mining, code of signals

The woollen mill was a vital part of Warrnambool for all but 22 years of the town’s history since it's the establishment in 1847 when the first land sales were held and white settlement began. In 1869 the Warrnambool Meat Preserving Company began operations on the mill site, in 1875, shareholders of the then defunct Warrnambool Meat Preserving Company happily sold the land and buildings on the Merri river to Warrnambool Woollen Mill Company Ltd for £5,000. The site was sold again in 1876 to grazer Robert Hood of Sherwood, who was chairman of directors of the failed company, which couldn’t raise sufficient capital to keep the works operating. The entrepreneurial Hood then used the existing plant to turn his own wool into tweed cloth. But just as the mill was starting to show a profit, a fire destroyed the building and plant on the night of 25 March 1882. So again, the mill was operational for six short years. Insurers only paid a fraction over 10% of the damage, Hood couldn't raise sufficient capital to rebuild on his own, and so the site lay unused until 1910. In 1908 Marcus Saltau and Peter John McGennan convinced the Warrnambool Chamber of Commerce to invest in a secondary industry with local capital. A public meeting in September 1908 agreed to raise £40,000, electing Saltau chairman of directors, a post he held for 34 years. A year later, using mostly local money, the Warrnambool Woollen Mill Company dispatched its first manager, John E. Bennett, to buy a plant and recruit 20 experienced staff from the Yorkshire woollen industry in December 1909. Another year more, the new mill was officially opened on 14 November 1910 by Marcus Saltau as company chairman and town mayor. Eighteen months on, in May 1912, the mill paid its first half-yearly dividend of 2 ½%. It was now working two shifts, with a year's orders to fill. In 1914 the mill ordered its own generator, providing the town with electricity and effectively doubling its plant size by October 1915, six months after Gallipoli. Thereafter, government orders for cloth and military supplies assured the mill’s success right through the First World War and on until 1923. A plant upgrade in 1922 for machinery to make worsted fabric drained profits, which, with a fall in demand, led to a loss in 1925. Profits were restored by the 1930s, despite the Depression, mostly due to tight management and robust marketing. Production boomed again during the Second World War, but soon foreign competition bit into profits, forcing the company to consolidate operations. The ‘50s and ‘60s were golden years for the mill. Security and growth gave the company confidence to trial Australia’s first electric blanket in 1958 and to install Swiss Sulzer looms in 1965. Over time, the building facades took on the modern look that the mill presented until it closed. The Dunlop company bought the mill in 1968, fending off a challenge from Onkaparinga in South Australia, and continued to expand by adding Wendouree Woollen Mill in the same year and Dream-spun Textiles a decade later, in 1979. Soon after that purchase, however, the mill began its slippery slide into decline. Dunlop sold to its former rival bidder Onkaparinga Woollen Co. Ltd in 1982, which in turn was taken over by Macquarie Worsted's only a year later, in 1983. Operations remained stable for a decade until 1994 when the Macquarie Group signaled that its newly rationalised operations left no room for the Warrnambool investment. The final operator of the mill was The Smith Family charity group, which ran the site by agreement with the Warrnambool City Council and a state government grant in that same year, 1994. The mill became more of a fabric recycler than a manufacturer. The site was sold to private operators in February 2003 and rezoned four months later to allow for the mixed housing development. The embossing press is significant for its association with the Warrnambool Woollen Mills 1910-1968, a major employer in the Warrnambool district. The press is also significant as an example of commercial office equipment used in the 19th and 20th century.Press, metal, for Company seal of Warrnambool Woollen Mill, stamping their brand as Western District Worsted Mills Pty Ltd. Metal is black with red and gold floral markings. Inscription of stamp reads "WESTERN DISTRICT WORSTED MILLS PROPRIETRY LIMITED" flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, warrnambool woollen mills, western district worsted mills proprietry limited, worsted fabric, printing press, logo printing press, stamp printing press, shipwreck-coast, flagstaff-hill-maritime-village

Wooden framed wash board with zinc coated corrugated steel board insert. Wooden frame consists of two legs three supporting wooden rods on back side of tin board and top and bottom wooden slates. Tin board has small holes all throughout. On wooden top the "Advantages of the board" are printed.Printed on wood on top of back side of board. "Advantages of this board. 1. No "Protector" is Needed. The water goes through the holes and never wets the apron of the operator. 2. The holes enable you to rapidly force both air and suds through the fabric, and so hasten the cleaning process. 3. The nicely "arched" surface is much easier to wash on than the orsinary flat surface. 4. Is, light, strong, durable, always retains its shape and never sags. 5. Has no board back to retain moisture and corrode the zinc. 6. Is very easy on the clothes. Do not have to rub them all to pieces to get them clean. Soon pays for itself on this count alone. 7. Is not only THE FASTEST WORKER IN USE, but is already coming into more general demand than any other wash board in the world. 8. If the saving of a womens strength is worth anything the labour saving qualities of this board would make it well worth $1.00. Always RUB LIGHTLY and find how easily the board itself will do a part of the work. TAYLOR, SCdomestic items, laundering, advantages of this wash board, wash board, laundry, cleaning, clothes, taylor, scoot and co., toronto, canada, washing.

This child's dress is one of several linen and clothing items that were made and belonged to Mrs. Eliza Towns and donated to Flagstaff Hill Maritime Museum and Village. Eliza was born Eliza Gould in 1857 in South Melbourne (Emerald Hill) and in 1879 married Charles Towns. In the early 1880's they moved to Nhill in western Victoria and remained there for the rest of their married life. Charles was a jeweller and later became an accountant and for many years was involved with the Shire Council, the local show committee (A & P Society), the Hospital Committee and the Board of the local newspaper (the Nhill Free Press). They had three children and lived a life that would be regarded as comfortably "middle class". Eliza probably had a treadle sewing machine and would have made many of her own clothes as well as clothes for her children - adding her own handmade embroidered or crocheted decorative trim. A photograph of their youngest child, Alice, taken in circa 1903 depicts her wearing the dress. The dress would have been only worn on special occasions (such as a formal family photographic portrait) as most young girls in that era would have smocks or pinafores for everyday wear. The age of the dress is in question as it may have been made by Eliza for her eldest daughter, Dorcus, who was born in 1884. This dress has some machine sewing at the neck, waistband and pintucks but much of the dress is handsewn and richly embroidered with Broderie anglaise. Broderie anglaise (also known as eyelet lace) is a form of cutwork embroidery. The foundation fabric is cut to make decorative holes which are sewn with overcast or buttonhole stitches to create a lace like effect. Designs often involve floral motives that are enhanced with simple embroidery stitches such as stem stitch and satin stitch and scalloped edges finished with buttonhole stitches. It was commonly used to trim baby clothes, dresses, nightclothes, underclothes and household linens - particularly in the Victorian and Edwardian eras. This item is an example of the needlework skills of women in the late 19th century - combining machine stitching with hand embroidery to personalise and embellish a child's special dress.Child's white dress made of cotton and lawn, with a skirt of hand embroidered circular cutwork (broderie anglaise), a scalloped hem edged in buttonhole stitch and a gathered waist. The lined bodice has three panels of hand embroidered broderie anglaise (eyelet lace) inserted in a V shape with pintucks and bordered with a broderie anglaise lace frill. The short sleeves also have an inserted broderie anglaise lace strip, three pintucks and a broderie anglaise lace frill. The skirt is semi lined with fine lawn. The dress has a back opening with one button and two ties. The neckline is decorated with two rows of hand embroidered broderie anglaise lace.flagstaff hill, flagstaff hill maritime museum & village, warrnambool, shipwreck coast, great ocean road, nhill, wimmera, eliza towns, dorcus towns, child's dress, machine sewing, hand sewing, broderie anglaise, cutwork, embroidery, eyelet lace, clothing, handmade, charles towns, alice towns

A "Plain Sewing Sampler" or "Darning Sampler" was intended to showcase the wide range of sewing techniques and skills a girl or woman had. These skills might include hand sewing techniques such as darning, patching, hemming, mending, structural sewing (making pleats, inserting gussets, joining fabric with seams) making buttonholes and embroidery. Samplers could also be intended for practicing a particular technique. There were several articles printed in Australian newspapers around 1889 referring to the "Plain Sewing Movement". In 1889 a Melbourne branch of the "London Institute for the Advancement of Plain Needlework" was formed by a group of ladies led by Lady Loch and Lady Clarke with the purpose of teaching "plain needlework' to women and girls. "Plain Sewing" included fundamental stitches and techniques that were essential for practical clothing construction and maintenance. Several years later in 1891, another meeting was held at Clivedon (the residence of Lady Clarke) to look into the possibility of improving the teaching of sewing in the state schools. This meeting was attended by several school inspectors and the committee of "the Melbourne Institute for the Advancement of Plain Needlework". This "Plain Sewing Sampler" was donated from the estate of Susan Henry OAM nee Vedmore (1944 - 2021). 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 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. It has not been possible to identify the lady (with the initials L. L.) who made this item in 1897 but it was thought to possibly be a female relation in her maternal (or possibly, paternal) grandmother's family. It has many of the same elements and techniques that were taught by the "Plain Sewing Movement" that originated in England at the end of the nineteenth century.This item is a rare example of the handcraft skills learnt by women and girls in the late 1890's to construct and maintain practical clothing for their families.A cream cotton sampler made from three smaller rectangular shapes, displaying a wide variety of plain sewing techniques including hand stitched seams (french, bound and herringboned), inserted patch, buttonhole, button, gathering, a gusset, frills, pintucks, a placket, cross stitch initials and date (L L and 1897) and decorative embroidery.L L/1897flagstaff hill maritime museum and village, warrnambool, shipwreck coast, needlework, textiles, plain sewing sampler, darning sampler, handwork, sewing, great ocean road, susan henry oam, vedmore trust, hand sewing, sewing techniques

A "Plain Sewing Sampler" or "Darning Sampler" was intended to showcase the wide range of sewing techniques and skills a girl or woman had. These skills might include hand sewing techniques such as darning, patching, hemming, mending, structural sewing (making pleats, inserting gussets, joining fabric with seams) making buttonholes and embroidery. Samplers could also be intended for practicing a particular technique. There were several articles printed in Australian newspapers around 1889 referring to the "Plain Sewing Movement". In 1889 a Melbourne branch of the "London Institute for the Advancement of Plain Needlework" was formed by a group of ladies led by Lady Loch and Lady Clarke with the purpose of teaching "plain needlework' to women and girls. "Plain Sewing" included fundamental stitches and techniques that were essential for practical clothing construction and maintenance. Several years later in 1891, another meeting was held at Clivedon (the residence of Lady Clarke) to look into the possibility of improving the teaching of sewing in the state schools. This meeting was attended by several school inspectors and the committee of "the Melbourne Institute for the Advancement of Plain Needlework". This "Plain Sewing Sampler" was donated from the estate of Susan Henry nee Vedmore (1944 - 2021). 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 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. It has not been possible to identify the lady (with the initials L. L.) who made this item in 1897 but it was thought to possibly be a female relation in her maternal (or possibly, paternal) grandmother's family. It has many of the same elements and techniques that were taught by the "Plain Sewing Movement" that originated in England at the end of the nineteenth century.This item is a rare example of the handcraft skills needed by women and girls in the late 1890's to construct and maintain practical clothing for their families.A cream flannel sampler made from three smaller rectangular shapes, displaying a wide variety of plain sewing techniques including hand stitched seams (french, bound and herringboned), darned patches, inserted patches, pleats, buttonholes, buttons, a gusset, pintucks, a placket, cross stitch initials and date (L L and 1897) and decorative embroidery.L.L. / ?? Yr 1897flagstaff hill maritime museum and village, great ocean road, warrnambool, sewing, plain sewing, sewing sampler, plain sewing sampler, darning sampler, hand sewing, textiles, susan henry oam, vedmore foundation, sewing techniques

Male wool shirt made in Bradford, U.K. The shirt is cut from first fabric woven from 100% traceable Australian wool. Bradford Mills differ to Australian mills in that the entire process of producing worsted material does not take place at the one firm/factory. Rather it is split between many firm/factories specialising in their task in the production of worsted material. For example, the wool goes from merchants to combers to produce tops, the tops to spinners to produce yarn and then the yarn is sold to manufactures who weave it into cloth. After the weaving is done the cloth has to be sent to the dryers and finishers, who scour, dye and finish the cloth. Finally, the finished cloth is purchase by a fresh set of merchants, who will later sell the cloth elsewhere in England or abroad. At each these steps a new firm is handling the wool/cloth making it hard to track lineage of wool through this process and hence hard to guarantee 100% Australian wool. This shirt was purchased and worn by the donor’s husband, George H. Gerber, an Australian Wool Buyer. The shirt was purchased on one of George’s trips to Bradford in the U.K. on company business. Gerber was a second-generation Wool Traders in his family. His father, also named George H. Gerber, worked for Kreglinger & Furneau. He worked for them in Boston, U.S.A. before he died from the Spanish Flu in 1918. The company then promised a job to his oldest son (donor’s husband) once he finished school. Thus, George came to be trained as a Fine Wool Classer by Kreglinger & Furneaux (Aust.) Pty Ltd where he was employed as a Wool Buyer all his working life. He retired in 1969 as the head of their Australian office when the company was taken over Also of note, the shirt was sold with 2 add-on collars. Having additional collars was advantageous as changing only the collar increased the number of days the shirt could be worn without washing. Cream coloured shirt with black and red single thread verticle stripes.“Grandpa” collar (with 1 of its 2 supplied add-on collars included). French cuffs. Sold with 2 add-on collars, hence both ends of the collar have buttonholes to take a stud, and a partially-opened button-hole is at the centre of the neck on the outside of the collar for a second stud.Letering label on shirt: GENT’S OUTFITTER Herbert Winfield 23 CHEAPSIDE, BRADFORDbradford, u.k, kreglinger & furneaux (aust.) pty ltd, 100% australian wool

Clothing. Owners initials prominent on outside. Rectangular in shape, fine grained black leather. The leather forms an external shape, white inside a smaller watermark, black silk pouch has a silver frame and clasp to hold the required items. This is lined with a dark cream watermark silk, and has an outer section with side pocket, containing a mirror, and a smaller inner section divided into purse-like compartments. Each swection has a silver frame and clasp. A small piece of light card -red on one side, and possibly glued as a label on the otherside is the same shape as the handbag, and has printed in capital letters ''NOTE THE POINTS''. This may or may not relate to the bag. The outer leather section is slightly tapered-wider at the bottom, forming slight peaks. The top reflects these peaks, with a 3 cm wide band of leather, shaped wider at the top. 23 cm long at top, 21 cm long at lower edge. Silver metal, upper-case lettering:M-A-B, indicate the owners initials. .7 cm high, 7cm long. Two 1 cm wide, 28 cm long handles complete this stylish bag. Mirror has bevelled edges, and is backed with the same fabric, as the bag lining.costume accessories, female, black handbag with silver initials m-a-b

Composite face legs and arms. Painted features. Hair - possibly real, dark brown colour. Doll dressed in royal purple gown. Long sleeves with lace cuff. Faux fur collar around V shaped neckline at front and squared collar at back. Lace trim across front of neckline. Faux fur trim across centre front and centre back at hem. Three underskirts. Mauve satin with darker mauve frill around hem line. Stiffened white fabric (Vilene?) White drawers with lace trim on lower legs. Painted on shoes in gold paint. Purple velvet handbag edged with silver cord. Boudoir dolls are dolls that are made to sit on beds and sofas as decorations rather than being used for play. They are also called bed dolls, flapper dolls, and French dolls. Years of Production Although dolls that sit on beds are still being made today, the classic vintage boudoir dolls were made from approximately the 1920s through the 1940s. Some of the earliest dolls, made even earlier than 1920 in some cases, were made in France. Many of the dolls were made in an art deco style.

Long sleeved bodice of ''resilda'' fabric. Long sleeves gather into a 9cm deep cuff. Cuff has a 4cm wide band, which is embroidered with a silk braid and floral embroidery in dark olive and a deep cream. A 5cmdeep band of floral cotton lace, in deep cream, trimmed at the edge with the braiding, completes the cuff. The same lace forms a 6cm deep stand-up collar, which is edged in a narrow velvet band of brown velvet. The back and front yoke is edged on the sides, with the same embroidered net as the sleeves. Braiding in a loop design underlines the bib shape, and also decorates the shoulders and upper sleeves. Sleeves are joined at the elbows, and decorated with braid. Bodice is pleated at the lower centre front to from a V shaped fitted waist. Back has a double plackett opening-the inner having ten hook and eye fasteners, the outer having three hooks and three hand made loops (as well as nine hooks and hand made loops on the back lace yoke). This two piece outfit-bodice and skirt, was made by Laura's Mother iv 1908, and mostly by hand. She wore it to Mass in 1913. It was made of material called ''resilda''.costume, female, brown striped bodice with lace trim

Before the introduction of electricity, irons were heated by combustion, either in a fire or with some internal arrangement. An "electric flatiron" was invented by American Henry Seely White and patented on June 6, 1882. It weighed almost 15 pounds (6.8 kg) and took a long time to heat. The UK Electricity Association is reported to have said that an electric iron with a carbon arc appeared in France in 1880, but this is considered doubtful. Two of the oldest sorts of iron were either containers filled with a burning substance, or solid lumps of metal which could be heated directly. Metal pans filled with hot coals were used for smoothing fabrics in China in the 1st century BC. A later design consisted of an iron box which could be filled with hot coals, which had to be periodically aerated by attaching a bellows. In the late nineteenth and early twentieth centuries, there were many irons in use that were heated by fuels such as kerosene, ethanol, whale oil, natural gas, carbide gas (acetylene, as with carbide lamps), or even gasoline. Some houses were equipped with a system of pipes for distributing natural gas or carbide gas to different rooms in order to operate appliances such as irons, in addition to lights. Despite the risk of fire, liquid-fuel irons were sold in U.S. rural areas up through World War II. In Kerala in India, burning coconut shells were used instead of charcoal, as they have a similar heating capacity. This method is still in use as a backup device, since power outages are frequent. Other box irons had heated metal inserts instead of hot coals. From the 17th century, sadirons or sad irons (from Middle English "sad", meaning "solid", used in English through the 1800s[4]) began to be used. They were thick slabs of cast iron, triangular and with a handle, heated in a fire or on a stove. These were also called flat irons. A laundry worker would employ a cluster of solid irons that were heated from a single source: As the iron currently in use cooled down, it could be quickly replaced by a hot one. https://en.wikipedia.org/wiki/Clothes_ironThis iron is typical of the clothes iron used before electric irons superseded it.Salter iron no. 6, painted black but with rust showing through. Salter iron no. 6.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, iron, clothes, laundry

The metal button was part of the cargo of the Schomberg vessel. Buttons are used for fastening two pieces of fabric together such as trousers, shirts, dresses and other similar items. ABOUT THE SCHOMBERG (October 6 to December 27, 1855)- When the ship Schomberg was launched in 1855, she was considered the most perfect clipper ship ever to be built. James Baine’s Black Ball Line had commissioned her for their fleet of passenger liners. The Aberdeen builders designed her to sail faster than the clippers designed the three-masted wooden clipper ship to be fast. The timber used for the diagonal planking was British oak with layers of Scottish larch. This luxury emigrant vessel was designed for superior comfort. She had ventilation ducts to provide air to the lower decks and a dining saloon, smoking room, library and bathrooms for the first-class passengers. The master for Schomberg’s maiden voyage was Captain ‘Bully’ Forbes. He drunkenly predicted at her launch that he would make the journey between Liverpool and Melbourne in 60 days. Schomberg departed Liverpool on 6 October 1855 with 430 passengers and 3000 tons of cargo including iron rails and equipment intended the build the Geelong Railway and a bridge over the Yarra from Melbourne to Hawthorn. The poor winds slowed Schomberg’s sail across the equator. She was 78 days out of Liverpool when she ran aground on a sand spit near Peterborough, Victoria, on 27 December; the sand spit and currents were not marked on Forbes’s map. The ship’s Chief Officer spotted the coastal steamer SS Queen at dawn and sent a signal. The master of the SS Queen approached the stranded vessel and all of Schomberg’s passengers safely disembarked. In 1975, 120 years after the Schomberg was wrecked, divers from Flagstaff Hill found an ornate communion set at the wreck site along with many other artefacts. In 1978 a diamond ring was discovered under the concretion in the lid of the communion set, which is currently on display. Former Director of Flagstaff Hill, Peter Ronald, had salvaged most of the artefacts from the wreck. This button s significant as an example of an item in common use in the mid-19th century and the items carried on ships as cargo. The Schomberg collection as a whole is of historical and archaeological significance at a State level. Flagstaff Hill’s collection of artefacts from the Schomberg is also significant for its association with the Victorian Heritage Registered shipwreck (VHR S 612). The collection is of prime significance because of the relationship between the objects salvaged, as together they help us to interpret the story of the Schomberg. The collection as a whole is historically significant for representing aspects of Victoria's maritime history and its potential to interpret social and historical themes. Button; round metal concave button with four holes. There is a decorative border on the edge and around the holes. The button was recovered from the wreck of the Schomberg.flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, schomberg, fastener, button, clothing accessory, clothing fastener, haberdashery

The metal button was part of the cargo of the Schomberg vessel. Buttons are used for fastening two pieces of fabric together such as trousers, shirts, dresses and other similar items. ABOUT THE SCHOMBERG (October 6 to December 27, 1855)- When the ship Schomberg was launched in 1855, she was considered the most perfect clipper ship ever to be built. James Baine’s Black Ball Line had commissioned her for their fleet of passenger liners. The Aberdeen builders designed her to sail faster than the clippers designed the three-masted wooden clipper ship to be fast. The timber used for the diagonal planking was British oak with layers of Scottish larch. This luxury emigrant vessel was designed for superior comfort. She had ventilation ducts to provide air to the lower decks and a dining saloon, smoking room, library and bathrooms for the first-class passengers. The master for Schomberg’s maiden voyage was Captain ‘Bully’ Forbes. He drunkenly predicted at her launch that he would make the journey between Liverpool and Melbourne in 60 days. Schomberg departed Liverpool on 6 October 1855 with 430 passengers and 3000 tons of cargo including iron rails and equipment intended the build the Geelong Railway and a bridge over the Yarra from Melbourne to Hawthorn. The poor winds slowed Schomberg’s sail across the equator. She was 78 days out of Liverpool when she ran aground on a sand spit near Peterborough, Victoria, on 27 December; the sand spit and currents were not marked on Forbes’s map. The ship’s Chief Officer spotted the coastal steamer SS Queen at dawn and sent a signal. The master of the SS Queen approached the stranded vessel and all of Schomberg’s passengers safely disembarked. In 1975, 120 years after the Schomberg was wrecked, divers from Flagstaff Hill found an ornate communion set at the wreck site along with many other artefacts. In 1978 a diamond ring was discovered under the concretion in the lid of the communion set, which is currently on display. Former Director of Flagstaff Hill, Peter Ronald, had salvaged most of the artefacts from the wreck. This button s significant as an example of an item in common use in the mid-19th century and the items carried on ships as cargo. The Schomberg collection as a whole is of historical and archaeological significance at a State level. Flagstaff Hill’s collection of artefacts from the Schomberg is also significant for its association with the Victorian Heritage Registered shipwreck (VHR S 612). The collection is of prime significance because of the relationship between the objects salvaged, as together they help us to interpret the story of the Schomberg. The collection as a whole is historically significant for representing aspects of Victoria's maritime history and its potential to interpret social and historical themes. Button; round metal concave button with four holes. The outer edge and the holes each have a raised rim. The button was recovered from the wreck of the Schomberg.flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, schomberg, fastener, button, clothing accessory, clothing fastener, haberdashery

The metal shoe buckle was part of the cargo of the Schomberg vessel. Buttons are used for fastening two pieces of fabric together such as trousers, shirts, dresses and other similar items. ABOUT THE SCHOMBERG (October 6 to December 27, 1855)- When the ship Schomberg was launched in 1855, she was considered the most perfect clipper ship ever to be built. James Baine’s Black Ball Line had commissioned her for their fleet of passenger liners. The Aberdeen builders designed her to sail faster than the clippers designed the three-masted wooden clipper ship to be fast. The timber used for the diagonal planking was British oak with layers of Scottish larch. This luxury emigrant vessel was designed for superior comfort. She had ventilation ducts to provide air to the lower decks and a dining saloon, smoking room, library and bathrooms for the first-class passengers. The master for Schomberg’s maiden voyage was Captain ‘Bully’ Forbes. He drunkenly predicted at her launch that he would make the journey between Liverpool and Melbourne in 60 days. Schomberg departed Liverpool on 6 October 1855 with 430 passengers and 3000 tons of cargo including iron rails and equipment intended the build the Geelong Railway and a bridge over the Yarra from Melbourne to Hawthorn. The poor winds slowed Schomberg’s sail across the equator. She was 78 days out of Liverpool when she ran aground on a sand spit near Peterborough, Victoria, on 27 December; the sand spit and currents were not marked on Forbes’s map. The ship’s Chief Officer spotted the coastal steamer SS Queen at dawn and sent a signal. The master of the SS Queen approached the stranded vessel and all of Schomberg’s passengers safely disembarked. In 1975, 120 years after the Schomberg was wrecked, divers from Flagstaff Hill found an ornate communion set at the wreck site along with many other artefacts. In 1978 a diamond ring was discovered under the concretion in the lid of the communion set, which is currently on display. Former Director of Flagstaff Hill, Peter Ronald, had salvaged most of the artefacts from the wreck. This shoe buckle is significant as an example of an item in common use in the mid-19th century and the items carried on ships as cargo. The Schomberg collection as a whole is of historical and archaeological significance at a State level. Flagstaff Hill’s collection of artefacts from the Schomberg is also significant for its association with the Victorian Heritage Registered shipwreck (VHR S 612). The collection is of prime significance because of the relationship between the objects salvaged, as together they help us to interpret the story of the Schomberg. The collection as a whole is historically significant for representing aspects of Victoria's maritime history and its potential to interpret social and historical themes. Shoe buckle; two parts comprising a shiny metal rectangular piece and a hook piece. The shoe buckle was recovered from the wreck of the Schomberg.flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, schomberg, fastener, clothing accessory, clothing fastener, shoe accessory, shoe buckle, metal shoe buckle

The metal shoe buckle was part of the cargo of the Schomberg vessel. Buttons are used for fastening two pieces of fabric together such as trousers, shirts, dresses and other similar items. ABOUT THE SCHOMBERG (October 6 to December 27, 1855)- When the ship Schomberg was launched in 1855, she was considered the most perfect clipper ship ever to be built. James Baine’s Black Ball Line had commissioned her for their fleet of passenger liners. The Aberdeen builders designed her to sail faster than the clippers designed the three-masted wooden clipper ship to be fast. The timber used for the diagonal planking was British oak with layers of Scottish larch. This luxury emigrant vessel was designed for superior comfort. She had ventilation ducts to provide air to the lower decks and a dining saloon, smoking room, library and bathrooms for the first-class passengers. The master for Schomberg’s maiden voyage was Captain ‘Bully’ Forbes. He drunkenly predicted at her launch that he would make the journey between Liverpool and Melbourne in 60 days. Schomberg departed Liverpool on 6 October 1855 with 430 passengers and 3000 tons of cargo including iron rails and equipment intended the build the Geelong Railway and a bridge over the Yarra from Melbourne to Hawthorn. The poor winds slowed Schomberg’s sail across the equator. She was 78 days out of Liverpool when she ran aground on a sand spit near Peterborough, Victoria, on 27 December; the sand spit and currents were not marked on Forbes’s map. The ship’s Chief Officer spotted the coastal steamer SS Queen at dawn and sent a signal. The master of the SS Queen approached the stranded vessel and all of Schomberg’s passengers safely disembarked. In 1975, 120 years after the Schomberg was wrecked, divers from Flagstaff Hill found an ornate communion set at the wreck site along with many other artefacts. In 1978 a diamond ring was discovered under the concretion in the lid of the communion set, which is currently on display. Former Director of Flagstaff Hill, Peter Ronald, had salvaged most of the artefacts from the wreck. This shoe buckle is significant as an example of an item in common use in the mid-19th century and the items carried on ships as cargo. The Schomberg collection as a whole is of historical and archaeological significance at a State level. Flagstaff Hill’s collection of artefacts from the Schomberg is also significant for its association with the Victorian Heritage Registered shipwreck (VHR S 612). The collection is of prime significance because of the relationship between the objects salvaged, as together they help us to interpret the story of the Schomberg. The collection as a whole is historically significant for representing aspects of Victoria's maritime history and its potential to interpret social and historical themes. Shoe buckle; metal rectangular piece with a joining hook. The buckle has encrustations from the sea. It was recovered from the wreck of the Schomberg.flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, schomberg, fastener, clothing accessory, clothing fastener, shoe accessory, shoe buckle, metal shoe buckle

‘The Fading Dream of Australian Home Ownership’ was made by Judy Turner in 1989 for her son Nicholas (then 14 years) after a family discussion about mortgages and rising interest rates (17% at the time), out of concern for his generation. “Perhaps this will keep my son warm when he can’t afford a house”, wrote Judy at the time. As a quilting teacher for over thirty years, Judy was well aware of the ‘wagga’ tradition of making do with what you have and reusing resources to make something useful. The quilt was made using approximately 270 different men’s woollen suiting samples. The fabrics in the quilt were a gift from Micheal Haze who was a travelling men’s ware salesman and friend of the artist’s late husband. The suiting samples were used just as they were, without cutting, and are stacked liked house bricks. The pieces have been machine pieced and tied. The quilt has woollen backing, with no batting. Judy’s son Nicholas, always interested in drawing, and keen to see what his mother was making, helped with the drawing and design of the house. The quilt has been exhibited in Canberra, Armidale and Sydney and featured in publications in Australian and Japan. Judy’s work has been exhibited Nationally and Internationally, including in Japan, Korea, Germany, Switzerland and the United States of America. Judy’s work has featured extensively in publications around the world, and has received many awards. Her work is held in public and private collections across Australia and the USA. As well as a successful career as an artist, Judy spent three decades imparting skills to the next generation as a patient and skilled teacher. ARTIST STATEMENT The medium of my artistic practice is quilt making and my focus is the use of colour and speedy, accurate and efficient methods of making successful quilts. In 1995 I developed an original technique of applying woollen yarn to a woollen background, focusing on the subtle blending of colour to express an idea. Author of Awash With Colour (1997) and co-author with Margaret Rolfe of Successful Scrap Quilts (2002).Folio page depicting three items attached to a black card background. One item is a title written in black ink on white background, another is a photograph of a quilt, the third shows a hand drawn sketch of a house with a verandah.Front: [handwritten] 95 / Judy Turner / The fading dream of / Australian Home Ownership. / Initial sketch while / deciding how to depict / the Fading Dream of / Australian Home Ownership.quilt, wagga, home, house, housing affordability, design

‘The Fading Dream of Australian Home Ownership’ was made by Judy Turner in 1989 for her son Nicholas (then 14 years) after a family discussion about mortgages and rising interest rates (17% at the time), out of concern for his generation. “Perhaps this will keep my son warm when he can’t afford a house”, wrote Judy at the time. As a quilting teacher for over thirty years, Judy was well aware of the ‘wagga’ tradition of making do with what you have and reusing resources to make something useful. The quilt was made using approximately 270 different men’s woollen suiting samples. The fabrics in the quilt were a gift from Micheal Haze who was a travelling men’s ware salesman and friend of the artist’s late husband. The suiting samples were used just as they were, without cutting, and are stacked liked house bricks. The pieces have been machine pieced and tied. The quilt has woollen backing, with no batting. Judy’s son Nicholas, always interested in drawing, and keen to see what his mother was making, helped with the drawing and design of the house. The quilt has been exhibited in Canberra, Armidale and Sydney and featured in publications in Australian and Japan. Judy’s work has been exhibited Nationally and Internationally, including in Japan, Korea, Germany, Switzerland and the United States of America. Judy’s work has featured extensively in publications around the world, and has received many awards. Her work is held in public and private collections across Australia and the USA. As well as a successful career as an artist, Judy spent three decades imparting skills to the next generation as a patient and skilled teacher. ARTIST STATEMENT The medium of my artistic practice is quilt making and my focus is the use of colour and speedy, accurate and efficient methods of making successful quilts. In 1995 I developed an original technique of applying woollen yarn to a woollen background, focusing on the subtle blending of colour to express an idea. Author of Awash With Colour (1997) and co-author with Margaret Rolfe of Successful Scrap Quilts (2002).Quilt featuring block pieces in tones of grey, blue, tan and brown, graduating in light to dark tones from top to bottom. The top third features a house with a verandah.quilt, wagga, home, house, housing affordability, design

‘The Fading Dream of Australian Home Ownership’ was made by Judy Turner in 1989 for her son Nicholas (then 14 years) after a family discussion about mortgages and rising interest rates (17% at the time), out of concern for his generation. “Perhaps this will keep my son warm when he can’t afford a house”, wrote Judy at the time. As a quilting teacher for over thirty years, Judy was well aware of the ‘wagga’ tradition of making do with what you have and reusing resources to make something useful. The quilt was made using approximately 270 different men’s woollen suiting samples. The fabrics in the quilt were a gift from Micheal Haze who was a travelling men’s ware salesman and friend of the artist’s late husband. The suiting samples were used just as they were, without cutting, and are stacked liked house bricks. The pieces have been machine pieced and tied. The quilt has woollen backing, with no batting. Judy’s son Nicholas, always interested in drawing, and keen to see what his mother was making, helped with the drawing and design of the house. The quilt has been exhibited in Canberra, Armidale and Sydney and featured in publications in Australian and Japan. Judy’s work has been exhibited Nationally and Internationally, including in Japan, Korea, Germany, Switzerland and the United States of America. Judy’s work has featured extensively in publications around the world, and has received many awards. Her work is held in public and private collections across Australia and the USA. As well as a successful career as an artist, Judy spent three decades imparting skills to the next generation as a patient and skilled teacher. ARTIST STATEMENT The medium of my artistic practice is quilt making and my focus is the use of colour and speedy, accurate and efficient methods of making successful quilts. In 1995 I developed an original technique of applying woollen yarn to a woollen background, focusing on the subtle blending of colour to express an idea. Author of Awash With Colour (1997) and co-author with Margaret Rolfe of Successful Scrap Quilts (2002).Folio page depicting three items attached to a black card background. One item is a red, blue, black and white textile sample, another is a hand drawn sketch of a house, the third shows hand written text on lined paper in black ink.Front: [handwritten] Final / design / for housequilt, wagga, home, house, housing affordability, design