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Wodonga & District Historical Society Inc
Photograph - Wodonga Civic Buildings Over Time
Wodonga Shire was created in 1876 when the colonial government agreed to ratepayers' petitions to have their part of the local government district severed from the Yackandandah Shire to form a new municipality. After meeting for 14 years in rented remises, in the Prince of Wales Hall, Wodonga Council built its first Shire Hall on the corner of High and Elgin Streets in 1890. The date on the facade of the building, 1876, represents the date of the formation of the Shire. In 1957 the second Shire Office was built in Woodland Grove by A.B. and M. A. Chick. These offices were considered more than adequate for future needs. The façade featured floor to ceiling windows and several different meeting rooms in addition to the council chamber, which featured an impressive “horse shoe” table. It also included a kitchen equipped with modern fittings and a President’s room. In the late 1960s the area between Hovell and Havelock Streets as far as Jack Hore Place was zoned for civic purposes. In 1969 plans for a civic centre providing a library, theatre and senior citizens’ rooms. It was opened on 22 April 1971. In 1973, the Council engaged Bruce Marshall to design new offices beside the Civic Centre. Jennings Industries were contracted to complete the offices. The Governor, Sir Henry Winneke, laid the foundation stone of the new offices on 10 March 1976. The Civic Centre was demolished in 2011 to make may for a new $10 million community and entertainment centre which opened in August 2012.These photos are significant as they depict the different buildings which have housed the centre of local government in Wodonga since its inception as an independent shire in 1876.A series of photographs depicting the different buildings used to house the Wodonga Council and Civic buildings over time.wodonga civic buildings, wodonga council, shire of wodonga, rural city of wodonga -
Disability Sport & Recreation Victoria
Plastic souvenir, The International Stoke-Mandeville Games for the Paralysed - Israel '68, 1968
The International Stoke-Mandevile Games, held in Tel-Aviv in 1968, were later classified as the third edition of the Paralympics. The International Wheelchair and Amputee Sports (IWAS) World Games (or IWAS World Games) are a multi-sport competition for athletes with a disability, which under the former name of the International Stoke Mandeville Games were the forerunner of the Paralympic Games. The competition has been formerly known as the World Wheelchair and Amputee Games, the Stoke Mandeville Wheelchair Games, the Stoke Mandeville Games, the World Wheelchair Games, and in the 1960s and 1970s was often referred to as the Wheelchair Olympics. The Games were originally held in 1948 by neurologist Sir Ludwig Guttmann, who organized a sporting competition involving World War II veterans with spinal cord injuries at the Stoke Mandeville Hospital rehabilitation facility in Aylesbury, England, taking place concurrently with the first post-war Summer Olympics in London. In 1952, the Netherlands joined in the event, creating the first international sports competition for the disabled. In 1960, the Ninth Stoke Mandeville Games were held in Rome, Italy, following that year's Olympic Games. These are considered to be the first Paralympic Games.[1] The 2012 Paralympic mascot Mandeville was named after Stoke Mandeville Hospital. While the Paralympic Games evolved to include athletes from all disability groups, the Stoke Mandeville games continued to be organized as a multi-sport event for wheelchair athletes. Games were held annually in Aylesbury under the direction of the International Stoke Mandeville Games Federation (ISMGF), which became the International Stoke Mandeville Wheelchair Sports Federation (ISMWSF)..Plastic medallion encasing a paper disc commemorating the 1968 Stoke-Mandeville Games for the Paralysed. Inscriptions (English): Front: Municipalities - Nazareth Elite - Nazareth. Reverse: The International Stoke-Mandeville Games for the Paralysed - Israel '68. Friendship - Unity - Sportsmanship. On both sides of the medallions there are what are likely to be the equivalent Hebrew and Arabic translations. Images induces Front: Logos of unknown organisations. Reverse: Logo for the 1968 Paralympics, showing three interlocking wheels to represent their values: friendship, unity and sportsmanship 1968 paralympics, 1968 stoke-mandeville-games, 1968 tel-aviv paralympics -
Melbourne Legacy
Document - Speech, The Origin and Growth of the Legacy Movement in Australia. (H51), 1967
A photocopy of an article in the 'Victorian Historical Magazine', 149th Issue August 1967. It was an account of a speech by Legatee Ian Anderson to the Historical Society on 23 May 1967. Legatee Anderson was president of Melbourne Legacy Club in 1964. This is a very good quality account of details of Legacy up to the 1960s. The article outlines the key figures and events in the creation of Legacy in 1923. He mentions 8 of the members at the founding meeting in September 1923 were from the 24th Battalion. The name 'Legacy' was suggested by L/ Frank Selleck. Also the first two years of Legacy focused on the rehabilitation of returned servicemen and finding them work. It was L/ Frank Doolan that proposed the 'real field for the movement's work lay in the care, guidance and encouragement of the families of those comrades who, through death, were themselves no longer there to give those benefits, and that as the children of deceased ex-servicemen were growing up, the cases were increasing in which some deputy was needed to take up among them the work for their deceased fathers, and to act virtually as a guardian or sponsor with the help and advice our dead comrade would have given.' It mentions the Central Liaison Committee, the Co-ordinating Council, the dates of the formation of other clubs, the Code of Legacy, the residences, the annual demonstrations, also the camps and classes provided for children. He quotes L/ Stan Savige in a speech to the Annual Conference in 1950 and also part of the speech given to farewell L/ Savige after his death. The notation H51 in blue pen shows that it was part of the archive project that was trying to capture the history of Legacy. A highly detailed account of the formation and evolution of Legacy between 1923 and 1967.White A4 photocopy of an article about Legacy published in the Victorian Historical Magazine x 6 pages.Handwritten H51 in blue pen. Typed 'Extract from Victorian Historical Magazine, 149th Issue - August 1967' on top of first page.history, speech, founding legatee -
Bendigo Military Museum
Instrument - Heliograph Mk V Training Aid - circa 1912, 1912
The Heliograph MkV is a fascinating piece of historical surveying and communications equipment. It was primarily used for visual signaling by reflecting sunlight with a mirror to send coded messages over long distances. This method was primarily useful in remote areas where other forms of communication were not available. The MkV model, specifically, was widely used by the British Army and other military forces from around 1906 until the mid 1960s. It remained in use with the Australian Army Survey Corps until the mid 1980s. The device typically included a 5 - inch mirror and was often mounted on a tripod for stability. Initially the instrument was used to communicate between survey stations using Morse code to coordinate their activities. Later when better forms of communication were available they were used for precise angle alignment where the sunlight reflection from the mirror was targeted between the survey stations to give very accurate results. The MkV was relatively light weight and portable, making it ideal for use in the field. It could be setup and adjusted quickly. The heliograph had an adjustable mirror that could be tilted to reflect sunlight towards a distant receiver. Surveyors could align the mirror using a sighting device. Whilst it was primarily used by the Military it was also used in civil surveying particularly in the remote areas of Australia. This instrument was used as a training aid to help teach surveyors at the Royal Australian Survey Corps School of Military Survey. Catalog item No 2009 is a tripod that was used to mount the Heliograph whilst being used for surveying.A Heliograph containing two mirrors with brass surrounds mounted on a wooden board as a Training Aid. Item has additional parts attached to the base board."Heliograph Mk V Training Aid"royal australian survey corps, rasvy, fortuna, army survey regiment, army svy regt, asr -
Brighton Historical Society
Top and pants ensemble, Watersun, Crop top and pants ensemble
Polish-born designer David Waters first began producing swimwear in 1952. His mother Halina had recently opened a stall at Melbourne Queen Victoria Markets and was looking for swimsuits to sell; unable to find any she liked, she asked David to design something. He began making swimming costumes using his mother's sewing machine, in between his shifts working at a knitting factory. He had soon set up a small business in his parents' home, cutting patterns in one room while a machinist sewed them together in the next. His company, which he named Watersun, would become an iconic Australian swimwear label. During the early 1960s, Watersun developed its "Unquestionable Bra", an inbuilt moulded bra which was marketed as giving wearers a more natural bustline than other labels. The company was also known for its matching swimwear and beachwear, producing dresses, kaftans, tops and skirts in identical colours and prints to those used for many of its swimsuits. By 1967, the company was reportedly one of Australia's two biggest swimwear manufacturers, with over one hundred employees. Watersun was sold to Ada Productions in 1984 and was later acquired by Trackerjack Australasia. This piece is believed to be one of a large quantity of samples, seconds and unsold Ada Productions stock donated to Brighton Historical Society in late 1990 by Brian Samuel, who worked at the company between 1979 and 1990.Ensemble consisting of sleeveless crop top (.1) and full length pants (.2). Bold floral print features blue and white flowers on a navy blue background. Top has a white Peter Pan collar. Swing tag attached.Swing tag: "SIZE 34 / STYLE 186/11 / PRICE $13.00".swimwear, watersun, david waters, ada productions, melbourne designers -
Brighton Historical Society
Swimsuit ensemble, Watersun
Polish-born designer David Waters first began producing swimwear in 1952. His mother Halina had recently opened a stall at Melbourne Queen Victoria Markets and was looking for swimsuits to sell; unable to find any she liked, she asked David to design something. He began making swimming costumes using his mother's sewing machine, in between his shifts working at a knitting factory. He had soon set up a small business in his parents' home, cutting patterns in one room while a machinist sewed them together in the next. His company, which he named Watersun, would become an iconic Australian swimwear label. During the early 1960s, Watersun developed its "Unquestionable Bra", an inbuilt moulded bra which was marketed as giving wearers a more natural bustline than other labels. The company was also known for its matching swimwear and beachwear, producing dresses, kaftans, tops and skirts in identical colours and prints to those used for many of its swimsuits. By 1967, the company was reportedly one of Australia's two biggest swimwear manufacturers, with over one hundred employees. Watersun was sold to Ada Productions in 1984 and was later acquired by Trackerjack Australasia. This swimsuit is believed to be one of a large quantity of samples, seconds and unsold Ada Productions stock donated to Brighton Historical Society in late 1990 by Brian Samuel, who worked at the company between 1979 and 1990.Backless lamé one-piece swimsuit (.1) with pattern of silver, blue and bronze circles in various sizes. Waist ties knotted at front for cinched-in waist. Built-in underwire bra. Sleeveless A-line jacket (.2) in same fabric, falling past hips. Front zip and close-fitting hood.Label in bra, blue with yellow sunburst logo containing the word “Watersun” in red, above the text: “32 / Unquestionable Bra”.swimwear, watersun, david waters, ada productions, melbourne designers -
Brighton Historical Society
Swimsuit, Miss Watersun
Polish-born designer David Waters first began producing swimwear in 1952. His mother Halina had recently opened a stall at Melbourne Queen Victoria Markets and was looking for swimsuits to sell; unable to find any she liked, she asked David to design something. He began making swimming costumes using his mother's sewing machine, in between his shifts working at a knitting factory. He had soon set up a small business in his parents' home, cutting patterns in one room while a machinist sewed them together in the next. His company, which he named Watersun, would become an iconic Australian swimwear label. During the early 1960s, Watersun developed its "Unquestionable Bra", an inbuilt moulded bra which was marketed as giving wearers a more natural bustline than other labels. The company was also known for its matching swimwear and beachwear, producing dresses, kaftans, tops and skirts in identical colours and prints to those used for many of its swimsuits. By 1967, the company was reportedly one of Australia's two biggest swimwear manufacturers, with over one hundred employees. Watersun was sold to Ada Productions in 1984 and was later acquired by Trackerjack Australasia. This swimsuit is believed to be one of a large quantity of samples, seconds and unsold Ada Productions stock donated to Brighton Historical Society in late 1990 by Brian Samuel, who worked at the company between 1979 and 1990.Blue and white gingham one-piece swimsuit. Short overskirt. Two rows of white cutwork lace form a frill along neckline and down either side of back straps, which fasten with buttons. Inbuilt bra with label: "Miss Watersun", size T14.Label in bra, blue with yellow sunburst logo containing the words “Miss Watersun” in red, above the text: “T14”swimwear, watersun, david waters, ada productions, miss watersun, melbourne designers -
Brighton Historical Society
Swimsuit ensemble, Watersun
Polish-born designer David Waters first began producing swimwear in 1952. His mother Halina had recently opened a stall at Melbourne Queen Victoria Markets and was looking for swimsuits to sell; unable to find any she liked, she asked David to design something. He began making swimming costumes using his mother's sewing machine, in between his shifts working at a knitting factory. He had soon set up a small business in his parents' home, cutting patterns in one room while a machinist sewed them together in the next. His company, which he named Watersun, would become an iconic Australian swimwear label. During the early 1960s, Watersun developed its "Unquestionable Bra", an inbuilt moulded bra which was marketed as giving wearers a more natural bustline than other labels. The company was also known for its matching swimwear and beachwear, producing dresses, kaftans, tops and skirts in identical colours and prints to those used for many of its swimsuits. By 1967, the company was reportedly one of Australia's two biggest swimwear manufacturers, with over one hundred employees. Watersun was sold to Ada Productions in 1984 and was later acquired by Trackerjack Australasia. This swimsuit is believed to be one of a large quantity of samples, seconds and unsold Ada Productions stock donated to Brighton Historical Society in late 1990 by Brian Samuel, who worked at the company between 1979 and 1990.Two-piece swimsuit with navy blue and white horizontal stripes. Cropped top (.1) has inbuilt underwire bra and metal fastening at back. Shorts (.2) are high-waisted with longer legs. Matching top (.3) has diagonal navy and white stripes and an asymmetrical hem. Sleeveless with round neck. Velcro fastening on shoulder and side seam of shorter side. No label.swimwear, watersun, david waters, ada productions, melbourne designers -
Brighton Historical Society
Swimsuit ensemble, Watersun
Polish-born designer David Waters first began producing swimwear in 1952. His mother Halina had recently opened a stall at Melbourne Queen Victoria Markets and was looking for swimsuits to sell; unable to find any she liked, she asked David to design something. He began making swimming costumes using his mother's sewing machine, in between his shifts working at a knitting factory. He had soon set up a small business in his parents' home, cutting patterns in one room while a machinist sewed them together in the next. His company, which he named Watersun, would become an iconic Australian swimwear label. During the early 1960s, Watersun developed its "Unquestionable Bra", an inbuilt moulded bra which was marketed as giving wearers a more natural bustline than other labels. The company was also known for its matching swimwear and beachwear, producing dresses, kaftans, tops and skirts in identical colours and prints to those used for many of its swimsuits. By 1967, the company was reportedly one of Australia's two biggest swimwear manufacturers, with over one hundred employees. Watersun was sold to Ada Productions in 1984 and was later acquired by Trackerjack Australasia. This swimsuit is believed to be one of a large quantity of samples, seconds and unsold Ada Productions stock donated to Brighton Historical Society in late 1990 by Brian Samuel, who worked at the company between 1979 and 1990.Two-piece swimsuit with navy blue and white horizontal stripes. Cropped top (.1) has inbuilt underwire bra and metal fastening at back. Shorts (.2) are high-waisted with longer legs. Matching top (.3) has diagonal navy and white stripes and an asymmetrical hem. Sleeveless with round neck. Velcro fastening on shoulder and side seam of shorter side. Labels inside bra and top.Label in bra (.1), blue with yellow sunburst logo containing the word “Watersun” in red, above the text: “Unquestionable Bra / MADE IN AUSTRALIA / 34”. Label in side of bikini top (.1): “BRI NYLON” Label in back collar of top (.3): blue with yellow sunburst logo containing the word “Watersun” in red, above the text: “34”, with words “Unquestionable Bra” truncated. Appears to be a repurposed bra label.swimwear, watersun, david waters, ada productions, melbourne designers -
Brighton Historical Society
Swimsuit ensemble, Watersun, Pool party ensemble, circa 1970s
Polish-born designer David Waters first began producing swimwear in 1952. His mother Halina had recently opened a stall at Melbourne Queen Victoria Markets and was looking for swimsuits to sell; unable to find any she liked, she asked David to design something. He began making swimming costumes using his mother's sewing machine, in between his shifts working at a knitting factory. He had soon set up a small business in his parents' home, cutting patterns in one room while a machinist sewed them together in the next. His company, which he named Watersun, would become an iconic Australian swimwear label. During the early 1960s, Watersun developed its "Unquestionable Bra", an inbuilt moulded bra which was marketed as giving wearers a more natural bustline than other labels. The company was also known for its matching swimwear and beachwear, producing dresses, kaftans, tops and skirts in identical colours and prints to those used for many of its swimsuits. By 1967, the company was reportedly one of Australia's two biggest swimwear manufacturers, with over one hundred employees. Watersun was sold to Ada Productions in 1984 and was later acquired by Trackerjack Australasia. This swimsuit is believed to be one of a large quantity of samples, seconds and unsold Ada Productions stock donated to Brighton Historical Society in late 1990 by Brian Samuel, who worked at the company between 1979 and 1990.Gold lurex one-piece swimsuit (.1) with v-neck and built-in bra. Matching floor-length gold cape (.2) with high collar and yellow lining. Fastens at collar with hook.Label, blue text on white: “Watersun / SIZE 10 / BUST 32 / Made in Australia”swimwear, watersun, david waters, ada productions, melbourne designers, 1970s -
National Vietnam Veterans Museum (NVVM)
Photograph, Photo Collage of Australian Involvement
Framed photo collage of Australian involvement in Vietnam.In the centre of the collage there is a bronze plaque wich reads: VIETNAM The Vietnam War was a military conflict that occurred in Vietnam, Laos and Cambodia from 1959 to 30 April 1975. The was was fought between the communist North vietnam, supported by its communist allies, and the government of South Vietnam, supported by the united States and other member nations of the Southeast Asia Treaty Organization (SEATO) The United States entered the war to prevent a communist takeover of South Vietnam as part of their wider strategy of containment. Military advisors arrived beginning n 1950. U.S. involvemeny escalated in the early 1960s and combat units were deployed beginning in 1965. Invollvement peaked in 1968 at the time of the Tet Offensive. Despite a peace treaty signed by all parties in january 1973, fighting continued. In response to the anti-war movement, the U.S. Congress passed the Case-Church Amendment in June 1973 prohibiting furtherdirect U.S. military intervention without Congressional authorization yet the U.S.was still heavily invested in the war until 1975, when North Vietnam captured Saigon. North and South Vietnam were reunified the following year. The war exacted a huge human cost in terms of facilities, including 3 to 4 million Vietnamese from both sides, 1.5 to 2 million Laotians and Cambodians, and 58,159 U.S. soldiers. AUSTRALIAN INVOLVEMENT: For a decade from 1962 to 1972, Australian forces were actively involved in the bitter war that tore Vietnam apart. they served with distinction, and in battles such as the decisive Battle of Long Tan they proved that they were more than a match for the Viet Cong.photo collage, australian involvement, southeast asia treaty organization (seato), tet offensive, u.s. congress, battle of long tan, saigon -
Warrnambool and District Historical Society Inc.
Bat, Cricket bat, 1870s
This bat was awarded to Thomas William Southcombe in 1876 for the best batting average during the 1875-6 season at Warrnambool Cricket Club. Thomas William Southcombe was the son of Thomas and Mary Southcombe of Port Fairy. With his parents, Thomas and Mary, he arrived in Port Fairy in 1854. Thomas Senior was a carpenter who established several businesses in Port Fairy and served on the local Council for many years as a Councillor and Mayor. Thomas Junior appears to have migrated to U.S.A. and died there in 1904. The cricket bat was manufactured by the British firm of James Lillywhite, Frowd & Co. James Lillywhite was an English cricketer whose uncle had originally established the sports store and manufacturing business which lasted under various names until the 21st century. A cricketer named Lillywhite played in Warrnambool in 1874 with an All England Team under the captaincy of W.G.Grace. It is not known whether this was James Lillywhite or another member of the Liilywhite family as several of them played first class cricket.. The impression of the signature of W.H.Ponsford on the bat is an intriguing one. W.H. (Bill) Ponsford was a famous Australian cricketer who retired in the late 1930s. The Southcombe cricket bat was given by Mary Southcombe (Thomas’ sister) to the old Warrnambool Museum in 1923 and it is surmised that Bill Ponsford visited Warrnambool in 1957 (tthis appears to be the date under the signature imprint) and was shown the bat. It is then surmised that he rested a piece of paper or an album page on the bat while he signed his name and the impression of the signature has come through onto the bat. The old Museum closed in the 1960s and the bat was then passed on to the Warrnambool and District Historical Society from the Warrnambool City Council collection of items from the Museum. This bat is of considerable importance because of its provenance and its connection with the Warrnambool Cricket Club, the Southcombe family of Port Fairy, the Lillywhite manufacturers, the old Warrnambool Museum and Bill Ponsford. It is also a good example of the type of cricket bat used in Australia in the 1870s. This is a wooden cricket bat (light colour wood, presumably willow) with a handle covered in oiled thread. It has an etched inscription on one side of the bat and the names of the manufacturer and distributor on the other side. There is also a faint impression of another signature. The blade of the bat is slightly curved. ‘W.C.C. Season 1875-6 Presented to T.W. Southcombe, for Best Batting Average’ ‘James Lillywhite Frowd & Co., Manufacturers, Borough, England’ ‘Made for George Marsh, Melbourne’ ‘W.H.Ponsford, -/1/1957’ warrnambool cricket club, thomas william southcombe, w.h.ponsford, warrnambool’s old museum -
Bendigo Military Museum
Photograph - Photographic Technicians performing tasks at the Army Headquarters Survey Regiment, c1960s
These eight photographs were most likely taken in the 1960s in Lithographic Squadron at the Army Headquarters Survey Regiment, Fortuna, Bendigo. Although Photo .1P is not annotated the remainder have the name of the technicians written on the back. The equipment operated by the technicians is the KLIMCH Commodore camera. The main tasks undertaken by the technicians were most likely enlargements and reductions of map reproduction material. The KLIMSCH Commodore camera was introduced in 1953 and was the largest in the Southern Hemisphere. It was replaced with a new model of the same size in 1979. The new model with its computer-based interface provided productivity gains with improved speed and its consistent results led to less wastage in time and materials. Its variomat lens system provided improved retention of map feature linear weights during the camera reduction process. The typed description pasted on the back of photo .5P states “Cpl R. MacKenzie of Bentley, Perth (WA) of the AHQ Survey Regt, located at “Fortuna”, Bendigo, (Vic). Has been in the Army for 5 years. He removes the lens cap from the 70 inch F16 lens of the giant KLIMSCH camera used in map making for the Army. The camera which was specially made for the Army in Germany is fully automatic and power operated. It is claimed to be one of the biggest automatic cameras of its type in the world. It was made to the specifications of the Aust Army Survey Corps to assist in the production of the very high standard maps for the Army. The AHQ Survey Regt also assists Commonwealth and other Govt departments in the printing of maps required other than for Army needs. The KLIMSCH camera is used for cartographic mapping photography.” This is a set of photographs of technicians operating photographic reproduction equipment at the Army Headquarters Survey Regiment, Bendigo c1960s. The photographs were printed on photographic paper and are part of the Army Survey Regiment’s Collection. The photographs were scanned at 300 dpi. .1) - Photo, black & white, c1960s, Les ‘Snow’ Taylor, Lithographic Squadron .2) - Photo, black & white, c1960s, Les ‘Snow’ Taylor, Lithographic Squadron .3) - Photo, black & white, c1960s, John Rolfe, Lithographic Squadron .4) - Photo, black & white, c1960s, John Rolfe, Lithographic Squadron .5) - Photo, black & white, c1960s, CPL R. MacKenzie, Lithographic Squadron .6) - Photo, black & white, c1960s, unidentified, Lithographic Squadron .7) - Photo, black & white, c1960s, George Graham, Lithographic Squadron .8) - Photo, black & white, c1960s, L to R: Bill Snelson, George Graham, Lithographic Squadron.1P – no annotation .2 to .4 – personnel names (less rank) annotated on back. .5 – name and rank annotated on back, with detailed typed description .6 to .8 – personnel names (less rank) annotated on back. royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr, litho -
Federation University Historical Collection
Photograph - Photograph - Colour, VIOSH: Portrait of Dr Eric Wigglesworth, AM
Victorian Institute of Occupational Safety and Health (VIOSH) Australia is the Asia-Pacific centre for teaching and research in occupational health and safety (OHS) and is known as one of Australia's leaders in the field. VIOSH has a global reputation for its innovative approach within the field of OHS management. VIOSH had its first intake of students in 1979. At that time the Institution was known as the Ballarat College of Advanced Education. In 1990 it became known as Ballarat University College, then in 1994 as University of Ballarat. It was 2014 that it became Federation University. VIOSH Australia students are safety managers, senior advisors and experienced OHS professionals. They come from all over Australia and industry. Students are taught active research and enquiry; rather than textbook learning and a one-size fits all approach. VIOSH accepts people into the Graduate Diploma of Occupational Hazard Management who have no undergraduate degree - on the basis of extensive work experience and knowledge. Eric Wigglesworth was born in England in 1926. He came to Australia in the 1960s. He was a specialist in accident injury prevention and continued this when in Australia. He was a Director of the Injury Research Project at the Royal Australasian College of Surgeons and a Director of the Sir Robert Menzies Memorial Foundation. He became a Fellow of the Institute of Occupational Safety and Health. Eric was instrumental in establishing the Graduate Diploma in Occupational Hazard Management in 1980 at Ballarat College of Advanced Education - the first tertiary-level course in accidental injury prevention in Australia. This course and others relating to Occupational Health and Safety were the centre of study for what was known as the Victorian Institute of Occupational Safety and Health, Australia - VIOSH.Colour photographviosh, victorian institute of occupational safety and health, ballarat college of advanced education, eric wigglesworth, accident injury prevention, royal australasian college of surgeons, sir robert menzies memorial foundation, occupational hazard management, graduate diploma -
Flagstaff Hill Maritime Museum and Village
Leisure object - Boudoir Doll, c. early 1900s
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 -
Eltham District Historical Society Inc
Negative - Photograph, Russell Yeoman, Shire of Eltham War Memorial, Memorial Park, Garden Hill, Eltham-Yarra Glen Road, Kangaroo Ground, c.1980
Shire of Eltham War Memorial Tower at Kangarooo Ground; view from the east and close up of entrance including Honour Roll. On November 11th 1926 the Shire of Eltham War Memorial Tower at Kangaroo Ground was opened. It is regarded as one of Melbourne’s most outstanding lookout towers. It commands a magnificent 360 degree panorama from Kinglake across the Diamond Valley to Macedon and the You Yangs. It is built on a peak which was once a volcano, 237 metres above sea level. After World War one a memorial cairn was erected on the site, and in 1925 a committee of public-minded citizens began to plan for a tower. Many generous donations of material and money were forthcoming so that in 1926 the Governor General Lord Stonehaven was able to unveil the plaque before a crowd of 500 people There was some concern in the 1960s when the Forests Commission wanted to build a firespotters cabin on the top. At first R.S.L. branches opposed the idea, but it was realised that this use could combine with its use as a tourist attraction, and would ensure its maintenance for the future. Today the Kangaroo Ground tower provides one of the best views around Melbourne and is a fitting memorial to those who died in two world wars. From: Historic items for Diamond Valley Community Radio September 1990 (EDHS collection) On November 8th, 1951, the memorial was re-dedicated by the Governor of Victoria, Sir Dallas Brooks with the addition of the names of men from the Shire of Eltham who fell in the Second World War. Further wreaths were added subsequent to this image in time for the 2001 Reembrance Day service to commemorate the men from th shire who had fallen in the Malayan, Korean, Borneo and Vietnam campaigns.Roll of 35mm colour negative film, 2 strips Kodak Safety 5035 Colour print (x1)Kodak Safety 5035garden hill, kangaroo ground, kangaroo ground memorial, memorial park, shire of eltham war memorial, shire of eltham war memorial tower, war memorial, kangaroo ground relief committee -
Eltham District Historical Society Inc
Negative - Photograph, Russell Yeoman, Shire of Eltham War Memorial, Memorial Park, Garden Hill, Eltham-Yarra Glen Road, Kangaroo Ground, c.1980
Shire of Eltham War Memorial Tower at Kangarooo Ground; view from the east and close up of entrance including Honour Roll. On November 11th 1926 the Shire of Eltham War Memorial Tower at Kangaroo Ground was opened. It is regarded as one of Melbourne’s most outstanding lookout towers. It commands a magnificent 360 degree panorama from Kinglake across the Diamond Valley to Macedon and the You Yangs. It is built on a peak which was once a volcano, 237 metres above sea level. After World War one a memorial cairn was erected on the site, and in 1925 a committee of public-minded citizens began to plan for a tower. Many generous donations of material and money were forthcoming so that in 1926 the Governor General Lord Stonehaven was able to unveil the plaque before a crowd of 500 people There was some concern in the 1960s when the Forests Commission wanted to build a firespotters cabin on the top. At first R.S.L. branches opposed the idea, but it was realised that this use could combine with its use as a tourist attraction, and would ensure its maintenance for the future. Today the Kangaroo Ground tower provides one of the best views around Melbourne and is a fitting memorial to those who died in two world wars. From: Historic items for Diamond Valley Community Radio September 1990 (EDHS collection) On November 8th, 1951, the memorial was re-dedicated by the Governor of Victoria, Sir Dallas Brooks with the addition of the names of men from the Shire of Eltham who fell in the Second World War. Further wreaths were added subsequent to this image in time for the 2001 Reembrance Day service to commemorate the men from th shire who had fallen in the Malayan, Korean, Borneo and Vietnam campaigns.Roll of 35mm colour negative film, 2 strips Colour print (x1)Kodak Safety 5035garden hill, kangaroo ground, kangaroo ground memorial, memorial park, shire of eltham war memorial tower, war memorial, garden hill, kangaroo ground, kangaroo ground memorial, kangaroo ground relief committee, memorial park, shire of eltham war memorial tower, war memorial, shire of eltham war memorial -
Eltham District Historical Society Inc
Photograph, Shire of Eltham War Memorial, Memorial Park, Garden Hill, Eltham-Yarra Glen Road, Kangaroo Ground, c.1936
Showing front angle view of tower and old fire watchbox on top On November 11th 1926 the Shire of Eltham War Memorial Tower at Kangaroo Ground was opened. It is regarded as one of Melbourne’s most outstanding lookout towers. It commands a magnificent 360 degree panorama from Kinglake across the Diamond Valley to Macedon and the You Yangs. It is built on a peak which was once a volcano, 237 metres above sea level. After World War one a memorial cairn was erected on the site, and in 1925 a committee of public-minded citizens began to plan for a tower. Many generous donations of material and money were forthcoming so that in 1926 the Governor General Lord Stonehaven was able to unveil the plaque before a crowd of 500 people There was some concern in the 1960s when the Forests Commission wanted to build a firespotters cabin on the top. At first R.S.L. branches opposed the idea, but it was realised that this use could combine with its use as a tourist attraction, and would ensure its maintenance for the future. Today the Kangaroo Ground tower provides one of the best views around Melbourne and is a fitting memorial to those who died in two world wars. From: Historic items for Diamond Valley Community Radio September 1990 (EDHS collection) On November 8th, 1951, the memorial was re-dedicated by the Governor of Victoria, Sir Dallas Brooks with the addition of the names of men from the Shire of Eltham who fell in the Second World War. Further wreaths were added subsequent to this image in time for the 2001 Reembrance Day service to commemorate the men from th shire who had fallen in the Malayan, Korean, Borneo and Vietnam campaigns.Black and white photograph showing front angle view of tower and old watchbox on topgarden hill, kangaroo ground, kangaroo ground memorial, memorial park, shire of eltham war memorial tower, war memorial -
Flagstaff Hill Maritime Museum and Village
Clothing - Mourning Outfit, Late 19th to early-20th centuries
This Edwardian-era mourning outfit was worn by a wealthy woman from the rural area of Willaura, southeast of the Grampians. It was inherited by the donor from his mother, who had purchased it from a clearing sale in the 1960s. The jacket has a peplum or flounce below the waistline, a fashion that was seen in the 1860s and is still around in the 1900s. The outfit represents the female mourning fashion and wardrobe from the late 19th to early 20th centuries. Such garments were a necessary inclusion as death often occurred to the young, due to illness, accidents and hard work - it was a regular part of life in rural Victoria. Mourning outfits were part of a person’s wardrobe and often passed from one generation to the next. This particular outfit appears to have been adjusted at some stage to allow for a wider waistline. The original skirt may have been replaced by the one that is now part of this outfit; the skirt is all machine-sewn, unlike the jacket and petticoat. The fabric of the skirt may be silk or it could be a synthetic fibre such as artificial silk or rayon; both were available in the 1800s,but nylon wasn’t invented until the 1930s. This skirt has sunray pleating, which was advertised on skirts for sale in the 1890s, and 1909, and was part of a fashionable bridal gown train in the 1930s. The mourning of death was part of both family and community life, particularly in rural and remote areas. People were bonded through work, religion, disasters, tragedy and social activities, supporting one another. They came together from near and far on such an occasion, giving each other the care that was needed and showing respect for the member who had passed away.This three-piece silk Edwardian mourning outfit is significant historically for its connection with rural Victoria and the social and religious customs surrounding the death of a family or community member. The high-quality outfit is also significant for representing the financial management of the times, being tailored by a dressmaker for a person of means and then adjusted to fit at least one different-sized person. Ladies’ Edwardian mourning outfit; three-piece tailored suit comprising of a black silk long sleeve, short-waist fitted and lined Jacket, a long sunray pleated skirt and long, lined petticoat. Items have been machine-sown and hand-sewn by a dressmaker. The skirt has handmade buttons of the same fabric.Handwritten in ballpoint pen “Jenny” and “Mrs Sheila Handscombe, Wallaura, Jenny”flagstaff hill maritime museum and village, warrnambool, shipwreck coast, edwardian era, tailor-made, dressmaker, mourning outfit, handmade garment, mourning dress, death mourning, sunray pleats, western district victoria -
Flagstaff Hill Maritime Museum and Village
Clothing - Mourning Outfit, jacket, Late 19th to early-20th centuries
This Edwardian era mourning outfit was worn by a wealthy woman from the rural area of Willaura, southeast of the Grampians. It was inherited by the donor from his mother, who had purchased it from a clearing sale in the 1960s. The jacket has a peplum or flounce below the waistline, a fashion that was seen in the 1860s and is still around in the 1900s. The outfit represents the female mourning fashion and wardrobe from the late 19th to early 20th centuries. Such garments were a necessary inclusion as death occurred often to the young, due to illness, accidents and hard work - it was a regular part of life in rural Victoria. Mourning outfits were a part of a person’s wardrobe and often passed from one generation to the next. This particular outfit appears to have been adjusted at some stage to allow for a wider waistline. The original skirt may have been replaced by the one that is now part of this outfit; the skirt is all machine-sewn, unlike the jacket and petticoat. The fabric of the skirt may be silk or it could be a synthetic fibre such as artificial silk or rayon; both were available in the 1800s,but nylon wasn’t invented until the 1930s. This skirt has sunray pleating, which was advertised on skirts for sale in the 1890s, and 1909, and was part of a fashionable bridal gown train in the 1930s. The mourning of death was part of both family and community life, particularly in rural and remote areas. People were bonded through work, religion, disasters, tragedy and social activities, supporting one another. They came together from near and far on such an occasion, giving each other the care that was needed and showing respect for the member who had passed away.This three-piece silk Edwardian mourning outfit is significant historically for its connection with rural Victoria and the social and religious customs surrounding the death of a family or community member. The high-quality outfit is also significant for representing the financial management of the times, being tailored by a dressmaker for a person of means and then adjusted to fit at least one different-sized person. The black silk tailor-made jacket is one of three pieces of a ladies’ Edwardian mourning outfit. It has long sleeves, a stand-up collar trimmed with appliqued black crochet lace, and pleated sashes on the left and right sides from front to back fastened at the shoulder and waist. The jacket has a peplum or flounce below the waistline. The front of the jacket has brass hooks and fabric eye fastenings. The back of the jacket has two tails. The jacket is lined and the shoulders are padded. It has been machine sewn and finished with hand stitching. A white card is tied with a ribbon inside and has an inscription. The poplin skirt on the jacket has been cut up to the waist at the side seams. There is an attached card with an inscription, handwritten in ballpoint pen.“Jenny” and “Mrs Sheila Handscombe, Wallaura, Jenny”flagstaff hill maritime museum and village, warrnambool, shipwreck coast, edwardian era, tailor-made, dressmaker, mourning outfit, handmade garment, mourning dress, death mourning, sunray pleats, sunburst pleats, western district victoria, mourning jacket -
Flagstaff Hill Maritime Museum and Village
Clothing - Mourning Outfit, skirt, Late 19th to early-20th centuries
This Edwardian-era mourning outfit was worn by a wealthy woman from the rural area of Willaura, southeast of the Grampians. It was inherited by the donor from his mother, who had purchased it from a clearing sale in the 1960s. The jacket has a peplum or flounce below the waistline, a fashion that was seen in the 1860s and is still around in the 1900s. The outfit represents the female mourning fashion and wardrobe from the late 19th to early 20th centuries. Such garments were a necessary inclusion as death often occurred to the young, due to illness, accidents and hard work - it was a regular part of life in rural Victoria. Mourning outfits were part of a person’s wardrobe and often passed from one generation to the next. This particular outfit appears to have been adjusted at some stage to allow for a wider waistline. The original skirt may have been replaced by the one that is now part of this outfit; the skirt is all machine-sewn, unlike the jacket and petticoat. The fabric of the skirt may be silk or it could be a synthetic fibre such as artificial silk or rayon; both were available in the 1800s, but nylon wasn’t invented until the 1930s. This skirt has sunray pleating, which was advertised on skirts for sale in the 1890s, and 1909, and was part of a fashionable bridal gown train in the 1930s. The mourning of death was part of both family and community life, particularly in rural and remote areas. People were bonded through work, religion, disasters, tragedy and social activities, supporting one another. They came together from near and far on such an occasion, giving each other the care that was needed and showing respect for the member who had passed away.This three-piece silk Edwardian mourning outfit is significant historically for its connection with rural Victoria and the social and religious customs surrounding the death of a family or community member. The high-quality outfit is also significant for representing the financial management of the times, being tailored by a dressmaker for a person of means and then adjusted to fit at least one different-sized person. The full-length black silk tailor-made skirt is one of three pieces of a ladies’ Edwardian mourning outfit. The skirt is made from black silky fabric. The garment has only two seams; at the side closure and the centre back. The whole skirt has sunray pleats; narrow pleats at the waist that fan outwards towards the hem. The top of the skirt is finished with a waistband that is shaped as an upward V shape in the centre. The side seam is closed with four self-fabric buttons with silver metal backing. The shirt has been machine sewn.flagstaff hill maritime museum and village, warrnambool, shipwreck coast, edwardian era, tailor-made, dressmaker, mourning outfit, mourning dress, death mourning, sunray pleats, western district victoria, full-length skirt -
Flagstaff Hill Maritime Museum and Village
Clothing - Mourning Outfit, petticoat, Late 19th to early-20th centuries
This Edwardian-era mourning outfit was worn by a wealthy woman from the rural area of Willaura, southeast of the Grampians. It was inherited by the donor from his mother, who had purchased it from a clearing sale in the 1960s. The jacket has a peplum or flounce below the waistline, a fashion that was seen in the 1860s and is still around in the 1900s. The outfit represents the female mourning fashion and wardrobe from the late 19th to early 20th centuries. Such garments were a necessary inclusion as death often occurred to the young, due to illness, accidents and hard work - it was a regular part of life in rural Victoria. Mourning outfits were part of a person’s wardrobe and often passed from one generation to the next. This particular outfit appears to have been adjusted at some stage to allow for a wider waistline. The original skirt may have been replaced by the one that is now part of this outfit; the skirt is all machine-sewn, unlike the jacket and petticoat. The fabric of the skirt may be silk or it could be a synthetic fibre such as artificial silk or rayon; both were available in the 1800s,but nylon wasn’t invented until the 1930s. This skirt has sunray pleating, which was advertised on skirts for sale in the 1890s, and 1909, and was part of a fashionable bridal gown train in the 1930s. The mourning of death was part of both family and community life, particularly in rural and remote areas. People were bonded through work, religion, disasters, tragedy and social activities, supporting one another. They came together from near and far on such an occasion, giving each other the care that was needed and showing respect for the member who had passed away.This three-piece silk Edwardian mourning outfit is significant historically for its connection with rural Victoria and the social and religious customs surrounding the death of a family or community member. The high-quality outfit is also significant for representing the financial management of the times, being tailored by a dressmaker for a person of means and then adjusted to fit at least one different-sized person. The full-length black silk tailor-made petticoat is one of three pieces of a ladies’ Edwardian mourning outfit. The petticoat is made from black silk lined with lightweight cotton. The petticoat and lining are constructed from eight panels each, brought together at the waist and gently gathered into the band. The back seam opening is fastened with brass hooks and fabric eyes. The lining has been reinforced with a heavier-weight hem. The hemline is finished with black velvet ribbon than encloses both the petticoat and lining. flagstaff hill maritime museum and village, warrnambool, shipwreck coast, edwardian era, tailor-made, dressmaker, mourning outfit, handmade garment, mourning dress, death mourning, sunray pleats, western district victoria, petticoat, undergarment, slip -
Australian Gliding Museum
Machine - Glider – Sailplane, 2015
The Salamandra is a Polish glider designed by Waclaw Czerwinski at the Military Glider Workshops in Krakow in 1936. This glider, designated “W.W.S.1”, was produced in substantial numbers prior to the second world war and used in Poland and some other eastern European countries for training pilots. Only one example survived the war, hidden away in the village of Goleszow in Silesia. In addition, no technical drawings could be found, so when the glider was discovered, the Gliding Institute being keen to re-establish gliding in Poland, used the glider to draw up new plans for construction. Five were built for the Institute in 1947 before production was resumed of the “Salamandra 48” at the SZD Jezow Workshops. Improvement were made by adding airbrakes and structural changes for the “Salamandra 49” and a windscreen and larger tailplane were changes adopted for the “Salamandra 53”. An export version designated “53A” was sold to and built under licence in China. Production of the Salamandra ceased in the early 1960s. Total production may have been in excess of 500. The glider was well regarded as a light weight trainer capable of soaring performance. The Museum’s replica was built by Ray Ash and may be may be classified as a “Salamandra 53”. However, he has added something of his own to the design by replacing the cable runs in the wings with control rods. The glider is substantially complete. The wings and tail / rudder surfaces have been covered with poly-fibre fabric. The fuselage woodwork is sealed with varnish. In addition to the finishing work (including painting) and rigging of the main components, the linkages for Ray’s control rod modification may need further engineering to make them operational. The Ray Ash Salamandra is the first of the type to appear in Australia. The Salamandra did not play any role in the development of gliding in Australia in the early years. However, it is an important exhibit in that it shows in tangible form a nacelle fuselage training glider in configuration and construction detail. As such it revisits the pioneering era of the 1930s and 1940s in Australia when wood, wire and fabric were the rule and the nacelle primary glider was generally the first step up for pilots who had mastered the basics in an open primary.Nacelled solo training glider of traditional wood and fabric construction. Construction incomplete.Noneaustralian gliding, sailplane, glider, salamandra, czerwinshi, poland, ash -
Whittlesea Historical Society Inc.
Photograph, Kath Power, Magpie Farmhouse, South Morang, March 1993
One of a series of photographs taken at Magpie Farmhouse by Kath Power when the house was being demolished, March 1993. Magpie Farmhouse, Plenty Road, South Morang. This charming old bluestone farmhouse with its moss-covered slate roof was owned for many years by one of the earliest families to settle in South Morang, the Le Pages. Two brothers, Peter and Charles Le Page, arrived in Australia from the island of Guernsey in the English Channel, in 1852 and 1854 respectively. After spending three years on the Bendigo, Castlemaine and other diggings, Peter settled in South Morang in 1855. Charles spent ten years on the Maryborough, Back Creek and Daylesford diggings before settling at South Morang in 1864. Both Peter and Charles married and raised large families at South Morang. Although the exact date is unknown, it would appear that Peter Le Page had purchased the property, known in recent times as Magpie Farm, by the 1880s. The date of construction and name of the builder of the farmhouse are also unknown, but the house would appear to have been built at least as early as the 1860s. By the early 1900s, Peter Le Page owned four farms at South Morang - Rosevilla, Hawkstowe, Riverview, and today's Magpie Farm. His son Arthur carried on dairying on the property for many years before selling out during the 1930s to the Tarry family. Subsequent owners have been the McMurray, McWilliam, Krupi and Heal families. Today the Peters family own the property although the farmhouse is currently tenanted. Dairying ceased during the late 1960s. The house was sold 1986 and demolished 1993. (Reference: Historic Buildings of the Whittlesea Shire, Robert Wuchatsch and John Waghorn, published 1985 by Whittlesea Historical Society) Photograph printmagpie farmhouse, south morang, peter le page, charles le page, le page family, bluestone house, rosevilla, hawkstowe, riverview, mcmurray family, mcwilliam family, krupi family, heal family, peters family, tarry family, dairy farm -
Whittlesea Historical Society Inc.
Photograph, Kath Power, Magpie Farmhouse, South Morang, March 1993
One of a series of photographs taken at Magpie Farmhouse by Kath Power when the house was being demolished, March 1993. Magpie Farmhouse, Plenty Road, South Morang. This charming old bluestone farmhouse with its moss-covered slate roof was owned for many years by one of the earliest families to settle in South Morang, the Le Pages. Two brothers, Peter and Charles Le Page, arrived in Australia from the island of Guernsey in the English Channel, in 1852 and 1854 respectively. After spending three years on the Bendigo, Castlemaine and other diggings, Peter settled in South Morang in 1855. Charles spent ten years on the Maryborough, Back Creek and Daylesford diggings before settling at South Morang in 1864. Both Peter and Charles married and raised large families at South Morang. Although the exact date is unknown, it would appear that Peter Le Page had purchased the property, known in recent times as Magpie Farm, by the 1880s. The date of construction and name of the builder of the farmhouse are also unknown, but the house would appear to have been built at least as early as the 1860s. By the early 1900s, Peter Le Page owned four farms at South Morang - Rosevilla, Hawkstowe, Riverview, and today's Magpie Farm. His son Arthur carried on dairying on the property for many years before selling out during the 1930s to the Tarry family. Subsequent owners have been the McMurray, McWilliam, Krupi and Heal families. Today the Peters family own the property although the farmhouse is currently tenanted. Dairying ceased during the late 1960s. The house was sold 1986 and demolished 1993. (Reference: Historic Buildings of the Whittlesea Shire, Robert Wuchatsch and John Waghorn, published 1985 by Whittlesea Historical Society) Photograph printmagpie farmhouse, south morang, peter le page, charles le page, le page family, bluestone house, rosevilla, hawkstowe, riverview, mcmurray family, mcwilliam family, krupi family, heal family, peters family, tarry family, dairy farm -
Whittlesea Historical Society Inc.
Photograph, Kath Power, Magpie Farmhouse, South Morang, March 1993
One of a series of photographs taken at Magpie Farmhouse by Kath Power when the house was being demolished, March 1993. Magpie Farmhouse, Plenty Road, South Morang. This charming old bluestone farmhouse with its moss-covered slate roof was owned for many years by one of the earliest families to settle in South Morang, the Le Pages. Two brothers, Peter and Charles Le Page, arrived in Australia from the island of Guernsey in the English Channel, in 1852 and 1854 respectively. After spending three years on the Bendigo, Castlemaine and other diggings, Peter settled in South Morang in 1855. Charles spent ten years on the Maryborough, Back Creek and Daylesford diggings before settling at South Morang in 1864. Both Peter and Charles married and raised large families at South Morang. Although the exact date is unknown, it would appear that Peter Le Page had purchased the property, known in recent times as Magpie Farm, by the 1880s. The date of construction and name of the builder of the farmhouse are also unknown, but the house would appear to have been built at least as early as the 1860s. By the early 1900s, Peter Le Page owned four farms at South Morang - Rosevilla, Hawkstowe, Riverview, and today's Magpie Farm. His son Arthur carried on dairying on the property for many years before selling out during the 1930s to the Tarry family. Subsequent owners have been the McMurray, McWilliam, Krupi and Heal families. Today the Peters family own the property although the farmhouse is currently tenanted. Dairying ceased during the late 1960s. The house was sold 1986 and demolished 1993. (Reference: Historic Buildings of the Whittlesea Shire, Robert Wuchatsch and John Waghorn, published 1985 by Whittlesea Historical Society) Photograph printmagpie farmhouse, south morang, peter le page, charles le page, le page family, bluestone house, rosevilla, hawkstowe, riverview, mcmurray family, mcwilliam family, krupi family, heal family, peters family, tarry family, dairy farm -
Whittlesea Historical Society Inc.
Photograph, Kath Power, Magpie Farmhouse, South Morang, March 1993
One of a series of photographs taken at Magpie Farmhouse by Kath Power when the house was being demolished, March 1993. Magpie Farmhouse, Plenty Road, South Morang. This charming old bluestone farmhouse with its moss-covered slate roof was owned for many years by one of the earliest families to settle in South Morang, the Le Pages. Two brothers, Peter and Charles Le Page, arrived in Australia from the island of Guernsey in the English Channel, in 1852 and 1854 respectively. After spending three years on the Bendigo, Castlemaine and other diggings, Peter settled in South Morang in 1855. Charles spent ten years on the Maryborough, Back Creek and Daylesford diggings before settling at South Morang in 1864. Both Peter and Charles married and raised large families at South Morang. Although the exact date is unknown, it would appear that Peter Le Page had purchased the property, known in recent times as Magpie Farm, by the 1880s. The date of construction and name of the builder of the farmhouse are also unknown, but the house would appear to have been built at least as early as the 1860s. By the early 1900s, Peter Le Page owned four farms at South Morang - Rosevilla, Hawkstowe, Riverview, and today's Magpie Farm. His son Arthur carried on dairying on the property for many years before selling out during the 1930s to the Tarry family. Subsequent owners have been the McMurray, McWilliam, Krupi and Heal families. Today the Peters family own the property although the farmhouse is currently tenanted. Dairying ceased during the late 1960s. The house was sold 1986 and demolished 1993. (Reference: Historic Buildings of the Whittlesea Shire, Robert Wuchatsch and John Waghorn, published 1985 by Whittlesea Historical Society) Photograph printmagpie farmhouse, south morang, peter le page, charles le page, le page family, bluestone house, rosevilla, hawkstowe, riverview, mcmurray family, mcwilliam family, krupi family, heal family, peters family, tarry family, dairy farm -
Whittlesea Historical Society Inc.
Photograph, Kath Power, Magpie Farmhouse, South Morang, March 1993
One of a series of photographs taken at Magpie Farmhouse by Kath Power when the house was being demolished, March 1993. Magpie Farmhouse, Plenty Road, South Morang. This charming old bluestone farmhouse with its moss-covered slate roof was owned for many years by one of the earliest families to settle in South Morang, the Le Pages. Two brothers, Peter and Charles Le Page, arrived in Australia from the island of Guernsey in the English Channel, in 1852 and 1854 respectively. After spending three years on the Bendigo, Castlemaine and other diggings, Peter settled in South Morang in 1855. Charles spent ten years on the Maryborough, Back Creek and Daylesford diggings before settling at South Morang in 1864. Both Peter and Charles married and raised large families at South Morang. Although the exact date is unknown, it would appear that Peter Le Page had purchased the property, known in recent times as Magpie Farm, by the 1880s. The date of construction and name of the builder of the farmhouse are also unknown, but the house would appear to have been built at least as early as the 1860s. By the early 1900s, Peter Le Page owned four farms at South Morang - Rosevilla, Hawkstowe, Riverview, and today's Magpie Farm. His son Arthur carried on dairying on the property for many years before selling out during the 1930s to the Tarry family. Subsequent owners have been the McMurray, McWilliam, Krupi and Heal families. Today the Peters family own the property although the farmhouse is currently tenanted. Dairying ceased during the late 1960s. The house was sold 1986 and demolished 1993. (Reference: Historic Buildings of the Whittlesea Shire, Robert Wuchatsch and John Waghorn, published 1985 by Whittlesea Historical Society) Photograph printmagpie farmhouse, south morang, peter le page, charles le page, le page family, bluestone house, rosevilla, hawkstowe, riverview, mcmurray family, mcwilliam family, krupi family, heal family, peters family, tarry family, dairy farm -
Whittlesea Historical Society Inc.
Photograph, Kath Power, Magpie Farmhouse, South Morang, March 1993
One of a series of photographs taken at Magpie Farmhouse by Kath Power when the house was being demolished, March 1993. Magpie Farmhouse, Plenty Road, South Morang. This charming old bluestone farmhouse with its moss-covered slate roof was owned for many years by one of the earliest families to settle in South Morang, the Le Pages. Two brothers, Peter and Charles Le Page, arrived in Australia from the island of Guernsey in the English Channel, in 1852 and 1854 respectively. After spending three years on the Bendigo, Castlemaine and other diggings, Peter settled in South Morang in 1855. Charles spent ten years on the Maryborough, Back Creek and Daylesford diggings before settling at South Morang in 1864. Both Peter and Charles married and raised large families at South Morang. Although the exact date is unknown, it would appear that Peter Le Page had purchased the property, known in recent times as Magpie Farm, by the 1880s. The date of construction and name of the builder of the farmhouse are also unknown, but the house would appear to have been built at least as early as the 1860s. By the early 1900s, Peter Le Page owned four farms at South Morang - Rosevilla, Hawkstowe, Riverview, and today's Magpie Farm. His son Arthur carried on dairying on the property for many years before selling out during the 1930s to the Tarry family. Subsequent owners have been the McMurray, McWilliam, Krupi and Heal families. Today the Peters family own the property although the farmhouse is currently tenanted. Dairying ceased during the late 1960s. The house was sold 1986 and demolished 1993. (Reference: Historic Buildings of the Whittlesea Shire, Robert Wuchatsch and John Waghorn, published 1985 by Whittlesea Historical Society) Photograph printmagpie farmhouse, south morang, peter le page, charles le page, le page family, bluestone house, rosevilla, hawkstowe, riverview, mcmurray family, mcwilliam family, krupi family, heal family, peters family, tarry family, dairy farm -
Whittlesea Historical Society Inc.
Photograph, Kath Power, Magpie Farmhouse, South Morang, March 1993
One of a series of photographs taken at Magpie Farmhouse by Kath Power when the house was being demolished, March 1993. Magpie Farmhouse, Plenty Road, South Morang. This charming old bluestone farmhouse with its moss-covered slate roof was owned for many years by one of the earliest families to settle in South Morang, the Le Pages. Two brothers, Peter and Charles Le Page, arrived in Australia from the island of Guernsey in the English Channel, in 1852 and 1854 respectively. After spending three years on the Bendigo, Castlemaine and other diggings, Peter settled in South Morang in 1855. Charles spent ten years on the Maryborough, Back Creek and Daylesford diggings before settling at South Morang in 1864. Both Peter and Charles married and raised large families at South Morang. Although the exact date is unknown, it would appear that Peter Le Page had purchased the property, known in recent times as Magpie Farm, by the 1880s. The date of construction and name of the builder of the farmhouse are also unknown, but the house would appear to have been built at least as early as the 1860s. By the early 1900s, Peter Le Page owned four farms at South Morang - Rosevilla, Hawkstowe, Riverview, and today's Magpie Farm. His son Arthur carried on dairying on the property for many years before selling out during the 1930s to the Tarry family. Subsequent owners have been the McMurray, McWilliam, Krupi and Heal families. Today the Peters family own the property although the farmhouse is currently tenanted. Dairying ceased during the late 1960s. The house was sold 1986 and demolished 1993. (Reference: Historic Buildings of the Whittlesea Shire, Robert Wuchatsch and John Waghorn, published 1985 by Whittlesea Historical Society) Photograph printmagpie farmhouse, south morang, peter le page, charles le page, le page family, bluestone house, rosevilla, hawkstowe, riverview, mcmurray family, mcwilliam family, krupi family, heal family, peters family, tarry family, dairy farm