This article reports on the opening of Tower Hill new history centre, opened the day before. Robin Boyd was the architect who designed the centre, which was designed to fit in naturally with the surroundings,tower hill, walsh st library

This sugar spoon is from the wreck of the LOCH ARD, a Loch Line ship of 1,693 tons which sailed from Gravesend, London, on 2 March 1878 with 17 passengers and a crew of 36 under Captain George Gibbs. “The intention was to discharge cargo in Melbourne, before returning to London via the Horn with wool and wheat”. Instead, on 1 June 1878, after 90 days at sea, she struck the sandstone cliffs of Mutton Bird Island on the south west coast of Victoria, and sank with the loss of 52 lives and all her cargo. The manifest of the LOCH ARD listed an array of manufactured goods and bulk metals being exported to the Colony of Victoria, with a declared value of £53,700. (202 bills of lading show an actual invoice value of £68, 456, with insurance underwriting to £30,000 of all cargo). Included in the manifest is the item of “Tin hardware & cutlery £7,530”. This sugarspoon is one of 482 similar items of electro-plated cutlery from the LOCH ARD site, comprising spoons and forks of various sizes but all sharing the same general shape or design and metallic composition. 49 of these pieces display a legible makers’ mark — the initials “W” and “P” placed within a raised diamond outline, which is in turn contained within a sunken crown shape — identifying the manufacturer as William Page & Co of Birmingham. An electroplater’s makers’ marks, unlike sterling silver hallmarks, are not consistent identifiers of quality or date and place of manufacture. A similar line of five impressions was usually made to impress the consumer with an implication of industry standards, but what each one actually signified was not regulated and so they varied according to the whim of the individual foundry. In this case, the maker’s marks are often obscured by sedimentary accretion or removed by corrosion after a century of submersion in the ocean. However sufficient detail has survived to indicate that these samples of electro-plated cutlery probably originated from the same consignment in the LOCH ARD’s cargo. The generally common range of marks are drawn from 255 tea spoons, 125 dessert spoons, and 99 table forks. These marks are clearly visible in 66 instances, while the same sequence of general outlines, or depression shapes, is discernible in another 166 examples. Suggested trade names for William Page & Co’s particular blend of brass plating are ‘roman silver’ or ‘silverite’. This copper alloy polishes to a lustrous gold when new, discolouring to a murky grey with greenish hue when neglected. HISTORY OF THE LOCH ARD The LOCH ARD belonged to the famous Loch Line which sailed many ships from England to Australia. Built in Glasgow by Barclay, Curdle and Co. in 1873, the LOCH ARD was a three-masted square rigged iron sailing ship. The ship measured 262ft 7" (79.87m) in length, 38ft (11.58m) in width, 23ft (7m) in depth and had a gross tonnage of 1693 tons. The LOCH ARD's main mast measured a massive 150ft (45.7m) in height. LOCH ARD made three trips to Australia and one trip to Calcutta before its final voyage. LOCH ARD left England on March 2, 1878, under the command of Captain Gibbs, a newly married, 29 year old. She was bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo reflected the affluence of Melbourne at the time. On board were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionary, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that intended for display in the Melbourne International Exhibition in 1880. The voyage to Port Phillip was long but uneventful. At 3am on June 1, 1878, Captain Gibbs was expecting to see land and the passengers were becoming excited as they prepared to view their new homeland in the early morning. But LOCH ARD was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4am the fog lifted. A man aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head on into the wind, the ship lost momentum, the sails fell limp and LOCH ARD's bow swung back. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time LOCH ARD was among the breakers and the tall cliffs of Mutton Bird Island rose behind the ship. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves broke over the ship and the top deck was loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of LOCH ARD and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as LOCH ARD Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael had raced onto deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a state of exhaustion, he told the men of the tragedy. Tom returned to the gorge while the two men rode back to the station to get help. By the time they reached LOCH ARD Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland, this time by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the LOCH ARD disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. Ten days after the LOCH ARD tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of LOCH ARD still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some was washed up into what is now known as LOCH ARD Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton porcelain peacock - one of only nine in the world. The peacock was destined for the Melbourne International Exhibition in 1880. It had been well packed, which gave it adequate protection during the violent storm. Today, the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register. The LOCH ARD shipwreck is of State significance – Victorian Heritage Register S 417. Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. A sugar spoon from the wreck of the LOCH ARD. The spoon design has a flattened fiddle-back handle, with a thin stem or shank, flared collar, and a shallow rounded bowl. The spoons metallic composition is a thin layer of brass alloy which has partially corroded back to a nickel-silver base metal. Spoon is in good condition and appears to have been partially restored. Approximately 85% of the original brass plating remains and five makers marks are clearly visible on the lower rear of the spoon handle - (1) WP in Crown, (2) plain cross on inverted triangle in Ellipse, (3) Maltese Cross in Rounded Square, (4) crab design in Circle, (5) portion of lettering in Diamond.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, electroplated cutlery, loch ard shipwreck, nickel silver, william page and co, birmingham brass plating, makers marks

This sugar spoon is from the wreck of the LOCH ARD, a Loch Line ship of 1,693 tons which sailed from Gravesend, London, on 2 March 1878 with 17 passengers and a crew of 36 under Captain George Gibbs. “The intention was to discharge cargo in Melbourne, before returning to London via the Horn with wool and wheat”. Instead, on 1 June 1878, after 90 days at sea, she struck the sandstone cliffs of Mutton Bird Island on the south west coast of Victoria, and sank with the loss of 52 lives and all her cargo. The manifest of the LOCH ARD listed an array of manufactured goods and bulk metals being exported to the Colony of Victoria, with a declared value of £53,700. (202 bills of lading show an actual invoice value of £68, 456, with insurance underwriting to £30,000 of all cargo). Included in the manifest is the item of “Tin hardware & cutlery £7,530”. This sugarspoon is one of 482 similar items of electro-plated cutlery from the LOCH ARD site, comprising spoons and forks of various sizes but all sharing the same general shape or design and metallic composition. 49 of these pieces display a legible makers’ mark — the initials “W” and “P” placed within a raised diamond outline, which is in turn contained within a sunken crown shape — identifying the manufacturer as William Page & Co of Birmingham. An electroplater’s makers’ marks, unlike sterling silver hallmarks, are not consistent identifiers of quality or date and place of manufacture. A similar line of five impressions was usually made to impress the consumer with an implication of industry standards, but what each one actually signified was not regulated and so they varied according to the whim of the individual foundry. In this case, the maker’s marks are often obscured by sedimentary accretion or removed by corrosion after a century of submersion in the ocean. However sufficient detail has survived to indicate that these samples of electro-plated cutlery probably originated from the same consignment in the LOCH ARD’s cargo. The generally common range of marks are drawn from 255 tea spoons, 125 dessert spoons, and 99 table forks. These marks are clearly visible in 66 instances, while the same sequence of general outlines, or depression shapes, is discernible in another 166 examples. Suggested trade names for William Page & Co’s particular blend of brass plating are ‘roman silver’ or ‘silverite’. This copper alloy polishes to a lustrous gold when new, discolouring to a murky grey with greenish hue when neglected. The LOCH ARD shipwreck is of State significance – Victorian Heritage Register S 417. Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. Unrestored sugar spoon from the wreck of the LOCH ARD. The spoon design has a flattened fiddle-back handle, with a thin stem or shank, flared collar, and a shallow rounded bowl. The spoons metallic composition is a thin layer of brass alloy which has partially corroded back to a nickel-silver base metal. Bowl covered with sediment and edges are cracked. Handle is corroded. No makers marks are visible.flagstaff hill maritime museum, shipwreck coast, great ocean road, loch line, loch ard, mutton bird island, loch ard gorge, electroplated cutlery, nickel silver, william page & co, birmingham brass plating, makers marks

Alistair Knox designed buildingTwo colour photographsindustries, brougham street, diamond valley antiques and collectables, alistair knox

Probably designed by Trevor BarnettOriginal poster. Black and orange on brown paper. It shows a man with a large nose smelling a bunch of flowers. You are cordially invited to attend the SMB Dance to be held at Corbould Hall in Albert St. on the 10th of June - Admission will be 40c.ballarat school of mines, dance, corbould hall, corbould

Designed by Robert Pataki for Kambrook.Beige 3 outlet powerboard prototype.plastic

Part 3 A general history of Collingwood, of schools of design from 1885 and Collingwood School of Design. Includes copies and transcripts of articles from books and newspapers regarding the school and those associated with it. Background history of CTS and the area surrounding it.Red plastic folder with plastic inserts. Part 3 A general history. Includes copies and transcripts of articles from books and newspapers regarding the CTS and those associated with it.Some documents have a numerical inscription relating to the Collingwood Technical School archives.collingwood technical school, cts, collingwood technical college, ctc, collingwood school of design, history, nmit,

One of the plans referred to in the application by Eastland Shopping Centre, a wholly owned subsidiary of the Myer Emporium Limited.|Upper floor plan and lower level traffic plan. Application No 3, Ringwood Planning Scheme 1960.|Architects: Tompkins, Shaw & Evans|Traffic Engineers: Len T Frazer and AssociatesTwo copies of plans for the Ringwood Shopping Centre, comprising; 1. Upper floor plan; 2. Lower level traffic level; Buff coloured heavy paper with black printing. Application No 3, Ringwood Planning Scheme. Shopping Centre at Ringwood design for developmetn submitted by EASTLAND SHOPPING CENTRE PTY.LTD a wholly owned subsidiary of THE MYER EMPORIUM LIMITED Architects: Tomkins, Shaw and Evans Taffic Engineers: Len T. Frazer & Assocs

Item re Frederick Gardner DAVEY DFC No 410533 RAAF. Refer Reg No 3536P for his service details.Black / white photo postcard featuring an aircraft with RAAF markings.Printed in black below photo: DEFENCE SERIES No 140 "WACKETT" TRAINER: THIS STURDY TRAINER, DESIGNED AND BUILT IN AUSTRALIA IS NOW IN PRODUCTION FOR USE IN RAAF ELEMENTARY FLYING TRAINING SCHOOLS. Handwritten in blue in on back: Mrs I Davey Pres CWA Strathdalephotography, cards, raaf, training

Federation University Australia was established on 1 January 2014. Formerly known as the University of Ballarat, its enabling legislation was the University of Ballarat Amendment (Federation University Australia) Act 2013. On 1 January 2014, the University of Ballarat amalgamated with the Monash University Gippsland Campus to form Federation University Australia. The Gippsland Campus also had a long lineage dating back to 1928 with the establishment of the Yallourn Technical School which became a predecessor institution to the Gippsland College of Advanced Education formed in 1968. In 1990, it was renamed the Monash University College and in 1993 became the Gippsland Campus of Monash University. In 2016, Federation University Australia announced plans to take possession, over a two-year period, of Monash’s Berwick Campus in the south-east corridor of Melbourne. Federation University Australia, or FedUni, is headquartered in Ballarat and offers programs in Higher Education and Vocational Education and Training to regional Victoria and beyond. The University’s commitment to educational and social equity, teaching excellence, research distinction, environmental sustainability and regional capacity building has enabled it to develop in a way that draws on its proud heritage to inform its future. Its regional character sets a framework for the University’s priorities but does not constrain it from serving wider community interests, nationally and internationally. The name Federation University Australia was chosen to convey the scope and capacity of an expanded regional university with a federated network of campuses. Three photographs showing a tree planted as a memorial to Jock Lawson, and a memorial plaque. The memorial is located on the Federation University Gippsland Campus, Churchill.This memorial was erected as a tribute to Mr Jock Lawson BEM (1901-1988) for his valuable contribution to the landscape design of the Gippsland Institute of Advanced Education. Mr Lawson's expert guidance set the basis for the fine gardens in which the Institute Community takes pride. gippsland institute of advanced education, churchill, garden, jock lawson, gippsland campus, memorial

Round clothing patch.Three ringed design, tow outer layers red, inner-most later green. Inner-most ring includes gold coloured logo with three wheels and what appears to be a hand holding them up. Middle ring includes the words "S.M.S.S.C."

LU 600 the first of the Small Town Units, designed and built by the Country Fire Authority. (CFA) The late Wally Titheridge, Chief Mechancal Officer of the Country Fire Brigades Board, CFBB, and its successor the CFA, stated in an interview in the early 1990's that the vehicle was designed by himself, and built by a body builder in Preston. This was the first of many hundreds of the Small Town Units, on maily Austin, but also Bedford, Leyland, and BMC Chassis. The early series trucks had a 200 gallon (900 Litre) tank, which was proving usefull, but "more is always better" , so the next series had 400 gallon (1000 litre) tanks.

This trinket box was made by Johann Landmann during his journey on the sailing ship Wilhelmsburg and was donated to Flagstaff Hill by the wife of Landmann's great-grandson. Landmann (or Landman, also known as August Landmann) was born in 1826 in Ganhor, Silesia, Prussia. At the age of 20, he travelled through Europe, working from town to town as a cabinet maker. At 26 years old he returned to Germany, married Anna Rosina in Wahlstatt, Prussia, and on the same day sailed for Australia on the Wilhelmsburg in 1853, the year the ship was registered. The Wilhelmsburg was a three-masted, square-rigged sailing ship built at Reiherstieg, Hamburg, and registered in Hamburg on 27th April 1853. On her maiden voyage in 1853, the ship sailed from Hamburg, Germany, to Australia with 510 passengers on board, including emigrants under the Bounty Scheme. Johan Landmann was one of the passengers. The Wilhelmsburg arrived in Hobson’s Bay, Melbourne after sailing for 100 days. Johann spent a week in Melbourne then travelled to Warrnambool aboard the Merry Kitty, arriving fourteen days later. Johann had landed in Melbourne with only 16 shillings in his pocket and by the time he arrived in Warrnambool, he only had one shilling and sixpence left. He also had very limited ability to speak English. He settled in the Allansford area, near Warrnambool, together with other families from Germany and went on to play a significant role in the history of Warrnambool. Johann worked as a cabinet maker in Warrnambool, making the first coffin in the Warrnambool cemetery. He also worked as a general merchant. He built many of the earliest shops in Warrnambool, and the first paddle boat used on the local Hopkins River. He made models of Warrnambool’s Ozone Hotel and Presbyterian Church; the model of the Hotel is now in the Warrnambool Art Gallery, and the model of the Presbyterian Church has been in the care of the Warrnambool & District Historical Society since around 2017. One of Landmann's residences was a two-storey building in Henna Street Warrnambool where he, lived upstairs and operated his business downstairs. After he retired Landmann built a ‘handsome stone residence’ at 30 Mickle Street, Warrnambool, where he lived until his death in June 1920; he was aged ninety-five. “Landmann Street” in Warrnambool has been named after Johann and appears on a map in 1872. He has also been honoured on Warrnambool’s Pioneer Memorial Board which is displayed at the Warrnambool and District Historical Society. Landmann's son Adolph Fritz Landmann (Fritz Landmann) born in 1861, was a Councillor from 1905 to 1915, and Mayor of Warrnambool from 1912 to 1915. The Wilhelmsburg sailed from Hamburg in 1863 heading for Queensland, Australia, but in December the vessel was wrecked off the coast of Holland during storms, with the loss of 247 lives.The trinket box is significant as an early Warrnambool historical artefact with a connection to the maiden voyage of the ship Wilhelmsburg a vessel that holds the record for the number of passengers carried in one journey on a small vessel. Johann Landmann is regarded as a significant and historical figure in the development of Warrnambool as one of the earliest pioneers, not only as a businessman but the civic duties he undertook. First as a councilman and later the mayor of Warrnambool. Trinket box, wooden, with inlaid timber patterns and images. The design includes a mirror with a hidden compartment inside the hinged lid, a removable inner tray divided into compartments, and a fitted brass lock. The trim around the base is angled to widen the base. Images on the lid and three sides represent sailing vessels and a building. The lid and corners have a rope-edge design. Panels of the top and three sides have an intricate inlaid pattern featuring various wood grains. Images are framed by lines etched into the wood. The inside corners of the frames have inlaid quarter-circles of contrasting woods, resembling photograph corners.shipwrecked coast, flagstaff hill, flagstaff hill maritime museum, maritime museum, shipwrecked artefact, warrnambool, trinket box, inlaid woodwork box, wilhelmsburg, landmann, johann landmann, augustus landmann, landman, fritz landmann (warrnambool mayor), presbyterian church warrnambool, 30 mickle st warrnambool, ozone hotel warrnambool, johann carl augustus landmann, jewellery box

Textiles. Damask weave fabric, with a design of a rose, with buds, and two stems of leaves, and a lovely soft sheen. Two bands of six zig zag peaks, are made by using pulled thread embroidery, and form a border either side of a row of pulled threadwork diamond shapes, 7 cm x 7 cm. This decorative border is at each end of the runner, which also is completed with a 12 cm deep fringe. A geometric patterned weave forms the background to the pulled thread embroidery, while a single rose and bud weave is tucked into each zig zag, and a scroll design features at each fringed end.textiles, domestic, double damask table runner

Errors: The altar was gifled by Mrs Charles Shuter window of Charles Shuter who died in 1902. It was designed by architecte Rodney Alsop. The pulpite was also designed by Rodney Alsop The two sanctuary chairs were designed by architecture William Scott Purves Godfrey and carved by Gladys Hawkey (who may have been a student of Prenxel: need some research) A4 assessment with photograph printed in colour.context psy ltd, georgia melville, significance

"Art is the vehicule for communications far Beyond the confines of a space, while design is the aesthetic cradle in which messages are nurtured and processed." "A 586 rework of the iconic building that has withstood the redevelopment of the Melbourne Docklands and defied the odds. On display a large format print 700mm x 1400mm print. Also a limited run of smaller prints on archival paper also available to support Melbourne's first non-profit charitible organisation that is still self funded, ie. not government funded." During the Open House Melbourne 30-31 July 2011, the artist nicknamed "586" participated in one of the Norla Dome Project Space events sponsored by Bendigo Wealth. Made in Melbourne, 586 is an urban digital experimentalist who blends social narrative with found image creating messages that inspire social consciousness and free thought. Cast in a local foundry back in 1991, 586 was a number, amid hundreds of men working between the ladie and the furnace in a clock on - clock off automated industrious landscape. Legend tells of a time when correspondance to workers was addressed to their number, not their name. Disapproval spread rapidly and a revoit soon followed, eventually the power of the masses won out, but the demoralizing treatment of the worker would go on to shape 586's perception and became the catalyst for a personal protest against social imbalance. This print was on display and smaller prints were also sold to raised funds for the Mission.DigitalLarge digital print of a design that overlays various symbols ( 4 flying angels ), the sails of a sailing ship and contemporary cityscapes and seascapes. centrally features a full photograph of the Mission to seafarers building at 717 Flinders St. Melbourne. Mounted in a large black frame and glazed with perspex .mission to seafarers, flinders street, melbourne, windvane, dome, flying angel, sea, norla dome, bendigo wealth, artist 586, 2011, artwork-paintings, open house, norla dome project space

This glue pot would have been used in woodwork projects. The glue used was probably an animal based glue.This item is an example of an accessory used by a trades person before the widespread availability of the modern liquid adhesivesA cast iron glue pot consisting of two separate pots - the larger of the two is designed to hold water and be hung over a fire. The smaller pot is placed inside so the glue can melt. each pot has a metal hanging / lifting hook / bail handle.glue-pot trades carpentry cast-iron container

This is a mid-19th century handmade Chinese clay teapot. It has a pattern around the body and interesting tubular handle and knob. This teapot is significant as an example of an item from the mid-19th century. It is also significant as the only example of a Chinese teapot in Flagstaff Hill Maritime Museum and Village's collection.Chinese teapot, brown clay, with vertical wavey line design. The spout is gracefully curved. The lid has decorative tubes as a handle. The handle, now dethatched, is also a tube shape. It is dated 1857. The inside is partially glazed. There is an inscription on the lid. The pot is broken and in five pieces.On lid "L26"flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, teapot, chinese teapot, clay teapot, handmade teapot, food and beverage, tea

This patchwork cushion section was handmade in 1898 by Sarah Jane Jones (nee Emerson) and donated by her Great-Granddaughter. It is an example of needlework created in the late 19th century. It is believed that the note was added to the cushion at a later date and incorrectly refers to a different item.The cushion section is significant for is example of handmade craft and needlework used in the late 19th century for home decor.Patchwork; a square and a rectangular shape of p patchwork prepared for making into a cushion. Shaped patches of a variety of design and fabric. The pieces are roughly joined together with visible cross stitches. Handmade by Sarah Jane Jones (nee Emerson) in 1898.Pinned to the underside is a note on a piece of fabric.Handwriting reads "Patchwork done by my mother in 1898" flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, soft furnishing, 1898, victorian, handmade, patchwork, craft, handcraft, sewing, hobby, needlework, cushion

Booklet. ALEC H CHISHOLM COLLECTION. 17 page soft cover booklet of poems about Australia by Roland E Robinson, a member of the Lyrebird Writers. Designed and printed by Edwards & Shaw in 1949 for the Lyrbird Writers, Sydney. Catalogue sticker '2085 ROB' on front cover.Roland E Robinsonbooks, collections, poetry, alec h chisholm collection, roland e robinson, lyrebird writers, poetry

Part of the collection of Dr Frank Forster. The philosophy of this object was to keep the uterus dilated. It was commonly believed at this time that the cervix was the cause of dysmenorrhoea. The stem pessary was an object used to rectify uterine displacements - either anteversion or retroversion. The device consisted of a stem which is introduced into the uterus, the stem was then attached to an ovoid flange or ball, on which the cervix uteri then rested. Connected to this flange was an external part or wire frame, which in turn was attached at one extremity to a flat tubular portion, passing into the vagina. This was then fixed to the intrauterine portion. The wire frame was then made to press on to the pubis, so that the pessary could be kept in position in utero.Pessary, Duke's stem design. Metal pessary with hollow stem, and a rounded flange at one end. The flange has eight small holes surrounding the central hole. The stem is flexible and is made from coiled metal which has then been attached (perhaps by soldering) to the flange.pessary, intrauterine device

Part of the collection of Dr Frank Forster. The philosophy of this object was to keep the uterus dilated. It was commonly believed at this time that the cervix was the cause of dysmenorrhoea. The stem pessary was an object used to rectify uterine displacements - either anteversion or retroversion. The device consisted of a stem which is introduced into the uterus, the stem was then attached to an ovoid flange or ball, on which the cervix uteri then rested. Connected to this flange was an external part or wire frame, which in turn was attached at one extremity to a flat tubular portion, passing into the vagina. This was then fixed to the intrauterine portion. The wire frame was then made to press on to the pubis, so that the pessary could be kept in position in utero.Pessary, Duke's stem design. Metal pessary with hollow stem, and a rounded flange at one end. The flange has six small holes surrounding the central hole. The stem is flexible and is made from coiled metal which has then been attached (perhaps by soldering) to the flange.pessary, intrauterine device

Embossed printed card attached to backing card of equal size. Design is of flowers and leaves coloured purple and green. The words Dinna Forget appear in gold along the bottom. A white sticker has been affixed that has largely peeled away.Reverse is completely covered in writing.postcard

Article re London double-decker bus in Bendigo owned by Messrs Robert Gay and Martin Bell; mention of history of the omnibus service in London and design of various buses over time; information about its use in Bendigo - passengers carried in 5 months (year??).document