The Bessiebelle Sheepwashes and Yards complex is located on the former 14,000 acre Ardonachie Run, established in 1848 by pastoralist Samuel Gorrie, then carrying 6,000 sheep. In 1864 this run was subdivided into smaller runs, and the sheep washes were located within Mount Eccles and Lake Gorrie Run. The date of construction of the washes and walls is not known, although they were probably constructed within the period 1848-1864. The Bessiebelle Sheepwashes and Yards are probably the largest and most sophisticated surviving example of a traditional pastoral property sheepwash in Victoria. They clearly demonstrate the large network of races, yards and folds necessary for washing thousands of sheep over a short period of time. The Bessiebelle sheep washes apparently predate later technological changes and the necessity for hot water washing. The Bessiebelle sheepwashes and yards are of landscape significance as a cultural landscape which has been both modified by, and cleverly adapted to, an annual process that was of critical importance within the pastoral calendar. The drystone walls and races appear to evolve from the rocky terrain, and have a strong organic affinity with the prevailing harsh landscape. The drystone walls demonstrate a high level of craftsmanship and skill in their construction, and reflect the extensive scale of pastoral operations across the landscape. The Bessiebelle sheepwashes and yards are of archaeological significance to the State of Victoria. The site has not been fully surveyed but its complexity strongly suggests a potential to reveal more about the washing processes and associated pastoral occupation and activity in the area.(Heritage Victoria)drystone, bessibell, sheep race, sheep wash, agriculture

This letter to Legatees was issued with the Weekly Bulletin on 28 August 1956, this was just before the first ever appeal to the public for donations. The letter outlines the purpose of the Appeal and how it will be launched by the Governor Sir Dallas Brookes and the timeline. Also that it had support from four leading newspapers and radio stations. It mentions a brochure "the Legacy Boy" and a brochure depicting the new building that will be mailed to Companies that Legatees had contacted (see 01264). The newsletter appears to be a normal example of the Weekly Bulletin. This was in a folder of documents about the history of Legacy. Appears to have been mostly compiled by Legatee Cyril Smith as he has many hand written notes on miscellaneous pieces of paper (some are envelopes addressed to him). The notes were typed up into a summary of the History of Legacy. Also documents relating to the first time Legacy approached the public for donations in September 1956, including newspaper articles that were reprinted, a schedule of information that was approved to be released to the press, and a list of potential donors that was circulated to Legatees in the hope they could contact the ones they knew personally or professionally. The call for public donations was partially due to the purchase of the Dureau building and the need to modify the building for Legacy's needs. The documents from this folder have been added in seperate records (see 01262 to 01282). The folder was part of an attempt to capture history of Legacy, generally from the 1950s.The documents provide an insight into the working of Legacy, especially in the 1950s. Legatee Cyril Smith and others were detailing their experiences and knowledge for the future. The Special Appeal in 1956 was the first undertaking to ask the public for donations.A foolscap typed letter to Legatees attached to a copy of the 8 page Weekly Bulletin newsletter from 28/8/1956.history, legacy appeal, fundraising

Four newspaper articles that were published on the 15 September 1956 when Legacy launched their first Appeal. Two of the articles were reprinted for Legacy to use as promotional material (see 01266 and 01267). One shows a line drawing of the new building that was acquired to replace the premises at 342 Swanston St that was purchased with funds from an American donation in memory of David H Dureau. The Special Appeal in 1956 was to raise £90,000 to go towards refurbishing the building at 289-299 Swanston St. They were in folder of documents about the history of Legacy. Appears to have been mostly compiled by Legatee Cyril Smith as he has many hand written notes on miscellaneous pieces of paper (some are envelopes addressed to him). The notes were typed up into a summary of the History of Legacy. Also documents relating to the first time Legacy approached the public for donations in September 1956, including newspaper articles that were reprinted, a schedule of information that was approved to be released to the press, and a list of potential donors that was circulated to Legatees in the hope they could contact the ones they knew personally or professionally. The call for public donations was partially due to the purchase of the Dureau building and the need to modify the building for Legacy's needs. The documents from this folder have been added in separate records (see 01262 to 01281). The folder was part of an attempt to capture history of Legacy, generally from the 1950s.The documents provide an insight into the working of Legacy, especially in the 1950s when they launched their first appeal to the public for donations. Legatee Cyril Smith and others were detailing their experiences and knowledge for the future.Four newspaper articles about Legacy and it's appeal for the new building, slightly irregular shapes.legacy appeal, properties, dureau house

An article about the old Hibernian Hall that was once owned by Legacy (from 1944 to 1954) at 342 Swanston Street. The building was bought with a donation from an American, Richard Goldsmith, in memory of David H Dureau. It was unsuitable for Legacy's needs and Legacy remained at their premises in 45 Market St until this building was sold in 1954 and the proceeds used to buy 293 Swanston St in 1956. The exact date of the article is not known -probably 1956 - after it was acquired by RMIT (at that stage called Royal Melbourne Technical College) and the article mentions the renovations underway. The article was in a folder of documents about the history of Legacy which appears to have been mostly compiled by Legatee Cyril Smith as he has many hand written notes on miscellaneous pieces of paper (some are envelopes addressed to him). The notes were typed up into a summary of the History of Legacy. Also documents relating to the first time Legacy approached the public for donations in September 1956, including newspaper articles that were reprinted, a schedule of information that was approved to be released to the press, and a list of potential donors that was circulated to Legatees in the hope they could contact the ones they knew personally or professionally. The call for public donations was partially due to the purchase of the Dureau building and the need to modify the building for Legacy's needs. The documents from this folder have been added in seperate records (see 01262 to 01281). The folder was part of an attempt to capture history of Legacy, generally from the 1950s.The documents provide an insight into the working of Legacy, especially in the 1950s. Legatee Cyril Smith and others were detailing their experiences and knowledge for the future.Newspaper article about a property once owned by Legacy in Swanston st.dureau house, properties

Set of 7 Agfa Colour slides, cardboard mounts, by Keith Caldwell dated 11.3.1962 of the transfer of cars from Footscray to the "Main System" the day after the system was closed. See Keith Kings history of Footscray notes. All trams running trolley wheels. .1 - Footscray depot cars X1 463, X2 678, X1 460 and X1 466 in Gordon St, about to turn into River Street. .2 - X2 678 turning from Nicholson St into Irving St. Footscray with the Rockmans Store in the background. This store was later demolished for the Ring Road. Also is J. Boltons Chemist shop advertising Kodak film and another shop advertising Darrell Lea Chocolates, Peters Icecream and ? Lopes fruit shop. .3 - X1 460 at same location. .4 - X2 678 crossing Maribyrnong River Bridge - note the person crouching down on the south side of the bridge behind the tram. .5 - X1 460 in Rosamond Road, just before the curve onto Williamson Rd. This site became the Bunnings site. The tram has a modified 21E truck. .6 - X2 468 as above with part of the curve in the view. Has an advertisement for Bon Stores of Hopkins St Footscray. .7 - X2 678 at ditto..1 - in ink - "Farewell Footscray" Sun 11.3.1962 - Footscray Depot cars departing areas en route to Main system." .2 - .7 all have "Footscray Sun 11.3.62"trams, tramways, footscray, closure, maribyrnong, gordon st, river st, irving st, maribyrnong river, bridges, x1 class, x2 class, rosamond rd, 21e trucks, tram 463, tram 678, tram 460, tram 466

Historically this ledger not only details the legible hand writing of this era but also the day to day commercial activity in this region(first entry in 1895).The neatness and the diligence of those who were required to pen the information was a requirement by all who were in commercial trade. Emphasis on neatness was ingrained in students at a young age. This era was well before general typewriters and computers. Generally all students of commerce required an accuracy in writing and arithmetic. Neatness and order were a selection requirement. This ledger belonged to a general store, which was a forerunner to supermarkets and specialty stores. The shop provided everything from food, postage stamps, nails, tobacco, boots and Epsom salts. The general store provided nearly every product required to exist in a remote rural area of Australia in the 1800's.This item clearly identifies the Kiewa Valley as having a substantial financial hub to accommodate the various commercial enterprises within a rural environment Circa 1880's. Although Kiewa Valley had mining, agriculture, cattle and sheep it was also composed of a mixed society, encompassing all levels of society at that period. It identifies some the commercial activities(newsagency/general store) undertaken by specific families farming in the Kiewa Valley and relates their history in the pioneer period of the late 1800's. Some of those pioneers still have descendants living on the same home sites provided by the 1847 Land Act.This ledger has a very thick cover of strong compressed cardboard. Originally it had a cloth covering both front and back(Glued on) but due to wear and tear it is only attached to the back cover) and is a faded blue colour. The corners of the opening side of the cover are reinforced by suede cloth,in a triangular shape, and enclose both the front and inside portions of the the ledger. The spine is reinforced by a suede section to provide increased strength and protection. The inside cover (both front and back) has an orange bubbles with red and blue sinuous lines forming shapes in a haphazardous pattern. The grammage of the lined sheets (blue) is approximately 120g/m. Originally the first seven of twelve pages were indented and alphabetically marked with black letters (one letter per page) however this ledger had been modified to cover only the initials of customers and the pages of unused letters were glued to the previous page. The remaining pages are numbered in black print at the top outside edge of each page. There are 890 page numbers. Each page has thirty seven blue horizontal lines and one double red line ( top). Each page has thirteen vertical lines starting from the top horizontal double red lines and ending at the bottom of the page. These lines segregate the page into blocks for the date, the transaction and financial input. There are three double vertical red lines which designate the amount of money of each transaction (in pounds, shillings,and pence).On the suede spine in gold lettering and on a red (port coloured) background "LEDGER"grocery shop, haberdashery, general store

Set of 15 black and white views of Ballarat printed on a folded strip, glued within a grey colour cardboard folder, titled "Photographic View Booklet Ballarat". Booklet printed with an address area within a leaf and on the rear, an area where the sender could write their name. Produced by The Valentine Publishing Co. Pty Ltd Melbourne. The rear has a slit on the rear cover that allowed the folder to be secured. Pictures are: 1. Statuary, Ballarat Gardens - the flight from Pompeii 2. Sturt St looking west from the Town Hall 3. Eureka Stockade monument 4. Lily Pond and Statuary House, Botanic Gardens 5. Sturt St from Lydiard St (with ESCo 17) 6. Lily Pond, Botanic Gardens 7. Sturt St from Grenville St with two ESCo trams in the view - similar image to btm761, but note Town Hall tower has been modified with a balcony. 8. The Old Curiosity Shop 9. Landing Place, Lake Wendouree 10. View from the Town Hall 11. Sturt St, Looking West, with ESCO car crossing Sturt St from Lydiard St 12. Along Lake Wendouree 13. In the Gardens 14. The Avenue of Honor (14 miles long) (Honour) 15. Post Office and Lydiard St Made early 1920's given The Avenue of Honor and other photographs with motor cars in the photo. trams, tramways, ballarat, postcards, sturt st, town hall, post office, gardens, esco

Len Lukey was a Victorian Racing Car Driver in the 1950s & 1960s and established his Car Exhaust Muffler business in his backyard in Highett c 1970. In 1964 he purchased the site and then developed and operated the Phillip Island Car Racing Track until his death 1978. He designed the Lukey Racing Car Museum and Gardens at that site. The 1959 Australian Drivers Championship was a CAMS sanctioned motor racing title for drivers of Formula Libre cars. The championship winner was awarded the 1959 CAMS Gold Star. The series was won by Victorian racer Len Lukey driving his Cooper T45 Climax and in the opening round of the series his own much modified Cooper T23 which was known as the Lukey-Bristol. Lukey was one of only a few drivers who attempted to complete the gruelling twelve race schedule, the longest in ADC history. Lukey finished just two points ahead of his season long rival, Alec Mildren from the ACT [1] (Cooper-Climax). Stan Jones, the father of F1 World Champion Alan Jones, was third in the championship, using four different cars over the course of the series. Race victories were shared around with Mildren taking three wins. Lukey, Jones and Bill Patterson each took two wins, with single victories going to Jack Brabham, Bib Stillwell and New Zealand Maserati 250F racer Ross Jensen. Jack Brabham later became F1 World Champion 3 times. A steel bottle opener with engraved advertising for Lukey Mufflers Pty Ltd HighettAlong Shaft : LUKEY MUFFLERS / HIGHETT VICTORIA / XL 3641car part manufacturers, lukey mufflers pty ltd, highett, moorabbin, bentleigh, cheltenham, early settlers, bottle openers, steel manufacturer, brabham jack, formula one grand prix champions, jones alan, phillip island car racing track.

Wikpedia : James Murray (physician) Sir James Murray (1788–1871) was an Irish physician, whose research into digestion led to his discovery of the stomach aid Milk of Magnesia in 1809. He later studied in electrotherapy and led the research into the causes of cholera and other epidemics as a result of exposure to natural electricity. He was the first physician to recommend the breathing in of iodine in water vapour for respiratory diseases. Born in County Londonderry, Murray became a licentiate in midwifery having studied at the Edinburgh College of Surgeons in 1807. He undertook studies in pharmaceuticals, an area in which he became competent. In 1809 he developed the foundations of a fluid magnesia, which contained a base ingredient of magnesium sulfate. He modified it in order for it to act as an aid for "weak nerves", low fever, spasms, cholera, and diarrhoea. He named his recipe Fluid Magnesia, and set up the company Sir James Murray & Son in order to successfully market it. Murray graduated from the University of Edinburgh as a Doctor of Medicine in 1829, and became the resident physician to Henry Paget, 1st Marques of Anglesey, in 1831, a post Murray held until the 1840s. Murray was knighted in 1833 and received an honorary degree in Medicine from Dublin University the following year. He was appointed as an inspector of anatomical schools in Ireland, and was a member of the central board of health, as well as the resident physician to the Netterville Dispensary and the Anglesey Lying-In Hospital, Dublin. Murray died at his home in Dublin on 8 December 1871. Large clear green tinted glass bottle with small neck, for stopped seal, oval in section. Embossed text on two sides, concave impression in base. Seed bubbles in the glassSide 1 : 'SIR J MURRAY'S PATENT RECARBONATED FLUID MAGNESIA'. Side 2 : 'LONDON & DUBLIN'.

8A Built in 1908 and painted Canadian red & dark brown, this locomotive was issued to the Upper Ferntree Gully to Gembrook line. Over the years, it saw service on the Colac to Crowes and Moe to Walhalla lines, but it saw more service on the Gembrook line than any other. It was withdrawn from service in 1955 at Upper Fern Tree Gully and sold to the Beaumaris City Council where it remained on static display until 1970. After storage at Newport & Ballarat North Workshops, it was brought to Belgrave in 1976 for restoration. It was returned to service in 1982 after a complete rebuild in close to its late 1920s condition with its extended bunker & modified front end including the tapered “stovepipe” smokestack, steel cow-catcher and the all-over Black livery. Loco: 8A In service Monday, 2nd March 1908 Livery Canadian red & dark brown Owner Puffing Billy Gauge 762mm / 2' 6" Status Preserved - Operational Service History : May 1908 - UFTG. - initial allocation of a new locomotive May 1908 - Mar 1910 UFTG. Apr 1910 - Mar 1915 Colac Jun 1915 -Sep 1926 UFTG. Jan 1927 - Jan 1930 Moe Mar 1930 - Oct 1936 UFTG. Nov 1936 - Dec 1936 Moe Jan 1937 - Oct 1954 UFTG. Dec 1954 - Workshops Jan 1955 - Jan 1968 Other Jul 1970 - Apr 1977 Workshops Jul 1982 - Belgrave - In active service at Puffing Billy Railway Belgrave Victorian Railways - Narrow Gauge NA class steam locomotive number 8A Dates that 8A worked on the Gembrook Line Mar-1908 to Apr-1910 - initial allocation of a new locomotive Jun-1915 to Jan-1927 Mar-1930 to Nov-1936 Jan-1937 to Dec-1954 Jul-1982 - Returned to service PBRSteam Locomotive 8Apuffing billy, 8a, victorian railways, narrow gauge, steam locomotive

2NBH - Excursion Car NBH SECOND-CLASS EXCURSION CAR. The H was recognising their use for "Holiday" traffic. 15 of these cars were built in 1919 and numbered 1-15. Two more were built in 1981, and numbered 16 & 17. Two extended versions for wheelchair passengers were built in 1981 & 1983. These were numbered 51 & 52 - a separate number series due to the different type of vehicle. Six, numbered 18-23, were built in 1997-98. These had steel frames, padded seats, and a wide "window sill". At first glance they look the same as the previous NBHs. There are other minor construction differences due to the use of steel framing. 18NBH entered traffic 19/4/1997; 19NBH on 5/12/1997; 20NBH on 19/12/1997, the others added in 1998. VR Service History : 14/ 5/1900 NWS Built new as 33 NQR converted & renumbered to 12/ 4/1919 - To NBH 2 VR Service History NQR 33.VA - 14/ 5/1900 NWS Built new - 12/ 4/1919 - To NBH 2.VA - *NBH 2.VA - / 4/1929 - Modified Malco BO circa 1955 - Condemned Puffing Billy Service History or Notes 12 Apr 1919 - Nos 1 to 6 NBH (new) delivered to UPPER FERN TREE GULLY after this date. Mar 2013 - In for a hot box againHistoric - Victorian Railways Narrow Gauge - Passenger Rolling Stock: Excursion Car Passenger Carriage - Excursion Car made of steel and timber2NBH puffing billy railway, pbr, rolling stock , 2nbh, victorian railways narrow gauge - passenger rolling stock,, victorian railways, nbh - excursion car, 2nbh

15NBH - Excursion Car Body built by Puffing Billy Preservation Society 1976. NBH - SECOND CLASS EXCURSION CAR. The H was recognising their use for "Holiday" traffic. Originally 15 of these cars were built in 1919 and numbered 1-15. Four were broken up prior to 1962, and replaced with new vehicles in 1975-76. Two more were built in 1981, and numbered 16 & 17. Two extended versions for wheelchair passengers were built in 1981 & 1983. These were numbered 51 & 52 - a separate number series due to the different type of vehicle. Six, numbered 18-23, were built in 1997-98. These had steel frames, padded seats, and a wide "window sill". At first glance they look the same as the previous NBHs. There are other minor construction differences due to the use of steel framing. 18NBH entered traffic 19/4/1997; 19NBH on 5/12/1997; 20NBH on 19/12/1997, the others added in 1998. VR Service History 8/12/1919 NWS Built new *NBH 15.VA - 8/12/1919 NWS Built new - / 3/1928 - Modified AC Malco BO circa 1955 - Condemned - 1/ 7/1962 - Scrapped. Replica body built by Puffing Billy Preservation Society 1976. Puffing Billy Service History or Notes 8 Dec 1919 - Nos 7 to 15 NBH (new) delivered to UPPER FERN TREE GULLY after this date.Historic - Victorian Railways Narrow Gauge - Passenger Rolling Stock: Excursion Car 15 NBH - Passenger Carriage - Excursion Car made of steel and timber15NBHvictorian railways, puffing billy railway

The exhibit is the prototype Kingfisher Mark 1 (serial number 23) built by Edmund Schneider Ltd and first flown on 8 July 1956. It was first registered as VH-GDH on 3 May 1957. The ES57 Kingfisher is a small to medium size single seat glider that was designed to have similar control responses to the successful two seat trainer, the ES 52 Kookaburra, thus providing for a smooth transition for solo rated pilots to advance to a single seat machine. Edmund Schneider Ltd built nine Kingfishers and supplied kits for two more for construction by others. Harold Bradley (South Australia) built a modified Kingfisher with shoulder mounted wings. Kingfisher serial number 23 was originally owned by the Waikerie Gliding Club (South Australia) (1956 – 1959). From 1959, it had a nomadic existence in the hands of a string of owners in New South Wales, Queensland, Northern Territory and finally Queensland, again. In the early 1990s the glider was deregistered and flown as an ultralight sailplane. After a change in ownership, the glider was moved to Hervey Bay, Qld and re-registered as VH-GKN. After very limited use, the glider was sold again and placed in storage at Hervey Bay. In January 2004, the owner, who by then had moved overseas, entrusted the glider to Ian Patching and Geoff Hearn who moved it to Melbourne. Ian Patching returned the glider to flying condition in February 2004. Since then, it has been stripped and recovered with new aircraft fabric and requires finishing work. The logged hours flown for the Kingfisher total approximately 190 hours from 549 flights. The glider was donated to the Australian Gliding Museum on 3 June 2014.The Exhibit is one of the Edmund Schneider Ltd gliders that was designed and built in Australia in the late 1950s. It is one of the four Kingfishers that are known to survive – the Bradley Kingfisher and two of the standard Kingfishers are known to have been destroyed – the fates of five are unknown. Single seat high wing wooden sailplane with plywood and fabric covering, in a partly restored condition. Serial number 23australian gliding, glider, sailplane, es 57, kingfisher, patching, schneider

The Golden Eagle is an original design by Geoff Richardson. Geoff commenced gliding in the early days of the sport circa 1933 in Melbourne, flying at Coode Island and Mt Frazer. In 1934, he began construction of a secondary type glider but scrapped it upon realizing that a better design was needed. He conducted further research and came up with a sailplane of similar size and general arrangement to the Grunau Baby but with a “Gull” wing using a Gottingen 535 wing section (the same as for the Grunau Baby). Geoff did all the technical calculations himself and even made up and tested a Casein glue for the construction. Geoff competed construction of his new sailplane (which he called the “Golden Eagle”) in 1937 and it was test flown at Laverton at the western edge of Melbourne in September 1937. On the same day, at Laverton, the Gliding Club of Victoria flew its new Grunau Baby 2 sailplane which it had imported as a finished machine from Edmund Schneider in Germany. The Golden Eagle was found to fly well, having a similar performance to the Grunau Baby. In the 1950s, the Golden Eagle was modified by rebuilding the front of the fuselage to enclose the cockpit with a Perspex canopy. A landing wheel was incorporated behind the skid. Spoilers were added to the wings and a trim tab to the elevators. The Golden Eagle has been flown with the VMFG (Victorian Motorless Flight Group) for most of its long life. When donated to the Australian Gliding Museum in 2016 by Alan Patching it was probably the oldest, continuously airworthy glider in the world. Having regard to the historical significance of the Golden Eagle, the Museum has decided to not to fly it anymore to avoid risk of loss or damage. The exhibit is of great significance for Australian gliding history – the Golden Eagle is a flyable 1930s aircraft in excellent condition that was designed and built by an Australian gliding pioneer. Single seat wood and fabric sailplane finished with white wings, tailplane and rudder and yellow fuselage Registration letters “FC” on fuselage nose port side, Australian flag, Vintage Gliders Australia and VMFG decals on rudder, “Golden Eagle” lettering in red on each side of the fuselage below the canopy, Aboriginal flag decal on port side of fuselage below the canopy. australian gliding, glider, sailplane, golden eagle, richardson, patching, vmfg, victorian motorless flight group

Depicting the boarding of Australian Troops from Vung Tau, Vietnam for return to Australia following active service in Vietnam. HMAS Sydney was a Majestic-class light aircraft carrier operated by the Royal Australian Navy (RAN). She was built for the Royal Navy and launched as HMS Terrible (93) in 1944, but was not completed before the end of World War II. The carrier was sold to Australia in 1947, completed, and commissioned into the RAN as Sydney in 1948. Sydney was the first of three conventional aircraft carriers to serve in the RAN, and operated as the navy's flagship during the early part of her career. From late 1951 to early 1952, she operated off the coast of Korea during the Korean War, making her the first carrier owned by a Commonwealth Dominion, and the only carrier in the RAN, to see wartime service. Retasked as a training vessel following the 1955 arrival of her modernised sister ship, HMAS Melbourne, Sydney remained in service until 1958, when she was placed in reserve as surplus to requirements. The need for a sealift capability saw the ship modified for service as a fast troop transport, and recommissioned in 1962. Sydney was initially used for training and a single supply run in support of Malaysia's defence policy against Indonesia, but in 1965, she sailed on the first voyage to Vũng Tàu, transporting soldiers and equipment to serve in the Vietnam War. 25 voyages to Vietnam were made between 1965 and 1972, earning the ship the nickname "Vung Tau Ferry". Sydney was decommissioned in 1973, and was not replaced. Despite several plans to preserve all or part of the ship as a maritime museum, tourist attraction, or car park, the carrier was sold to a South Korean steel mill for scrapping in 1975A pictorial image of troops returning to Australia from Vietnam.Timber frame with mount containing print of ship at sea and soldiers in a barge in foreground.Homeward Boundhmas sydney, ran

Set of 14 MMTB timetables for various bus routes, dated July 1969. Generally includes Sat and Suns, Good Friday and Christmas day as well as weekdays, unless noted otherwise. Also includes a map of the route, detailed time points, sections, connecting services, fares, and organisation address - 616 Little Collins St. Melbourne. Have been folded into eight or ten portions. All on white paper unless noted otherwise. Items shown with an # - have a sticker modifying timetable information details on the front page. Items shown with a % are larger size sheets of paper, folded into 10. 1155.1 - Clifton Hill - Elsternwick # .2 - Garden City - City # .3 - Fishermen's Bend - City .4 - Box Hill - East Doncaster via Blackburn, Mitcham via Donvale PO and Mitcham - Ringwood via Eastland .5 - Warrandyte via Templestowe, via East Doncaster, Donvale PO - City % .6 - Warrandyte, Park Orchards Ringwood .7 - Williamstown Rd., Footscray Railway Station, Ballarat Rd # .8 - Latrobe University, Northland, West Heidelberg - City # % .9 - Deer Park, Sunshine Park, Sunshine, Footscray - City # .10 - as above, but for Saturdays and Sundays on pink paper # .11 - Box Hill, Heidelberg, Templestowe .12 - Box Hill, North Blackburn .13 - East Kew, Box Hill, Doncaster .14 - Bullen, North Kew - City # % Images of a sample of documents added 16-11-2013. mmtb, timetables, melbourne

The Eltham Hotel was opened in 1854 situated on the south east corner of Main Road (Maria Street) and Pitt Street. Post card dated Eltham 2.1.1908 sent to Mr C. Watson "Malvale" Mardan Inscribed "Wishing you a Brigt and Happy New Year from Florrie" Most likley sent by Florence May Shillinglaw to sister Carrie Watson and new brother-in-law Christopher Watson - The Watsons married in 1907 View looking south on Main Road towards Pitt Street and Watson's Eltham Hotel on left. At this time, the hotel was run by Christopher Watson Jnr. Carrie Shillinglaw had recently married his son, Christopher. Ultimately the hotel would pass to his youngest son, Herbert James (Jim) Watson who demolished the original building in 1925 and erected a new modern building on the same site that remains in present time though modified several times over the years. See also EDHS_00133 POSTCARD 1905-1940s Like the carte-de-visite, postcards enjoyed a collecting craze by large numbers of people, and were often kept in albums through which the interested visitor could browse. Postcards were posted or exchanged in huge numbers. Postal authorities in Australia only allowed the private printing of postcards from 1898. At this time the back of the card was reserved for the address and postage stamp, and the front was used for the message and a picture. In 1902 British authorities allowed a "divided back", so that the left side could be used for the message, the right side for the address and stamp, and the whole of the front was devoted to the picture. France followed suit in 1904, Germany and Australia in 1905, and the United States in 1907. - Frost, Lenore; Dating Family Photos 1850-1920; Valiant Press Pty. Ltd., Berwick, Victoria 1991marg ball collection, postcard, eltham hotel, florence may bunker (nee shillinglaw) (1886-1969), main road, pitt street, caroline (carrie) watson (nee shillinglaw 1876-1956), christopher watson, 1908

These theatre chairs had been used in the Mozart Hall in Warrnambool for many years but are now no longer required. They were about to be offered for anyone to take but just by chance Flagstaff Hill’s Manager heard about them from a friend in Melbourne. Our Manager thought it important to keep the chairs in Warrnambool as they were significant to our local history and could be incorporated in our Museum. He made arrangements to collect and install them in Flagstaff Hill’s Theatrette. Originally these theatre chairs belonged to Warrnambool Town Hall. When The Warrnambool Baths (or Swimming Pool) in Gillies Street closed, due to the Health Act of 1958, the changing rooms were taken over by the Mozart Group. The building was modified and set up for musical concerts with the name Mozart Hall. The seats were re-covered by Miss Eva Gaspar, Director of the Warrnambool Music Society, with assistance from group members. The material was order by W.C. James (Treasurer) in 1964, at a cost of 26 pound and 10 shillings (£26-10), and supplied by Jacka-Wortley Fabrics Pty Ltd, Upholstery and Furnishing Supplies, 157-163 Pelham Street, Carlton, Melbourne, Victoria. The supplier’s telephone was “JACKAFAB” (5222 2322). The fabric was delivered to J. Hulin of 116 Belmore Rd, Warrnambool. The manufacturer of the chairs, Riddell & Preece Pty Ltd of Melbourne, also supplied theatre chairs for other public buildings including (1) the Ozone Theatre in Enfield, South Australia, in 1929, (2) the Gallery of the Horsham Town Hall in Victoria (at 26/6 each, that is 26 shillings and sixpence, approximate conversion in 2014 to $100.00au), (3) in 1927 in the Gallery of the Kyenton Mechanics’ Institute (4) in 1926, Horsham Theatre. (In May 2018 a transfer of three banks of chairs was made from Flagstaff Hill to the Australian Centre for the Moving Image in Melbourne.) The chairs are of local historical and social significance. Theatre chairs. The sixteen sets (groups or banks) of complete chairs, four seats per chair, give a total of 64 seats. Each chair has timber framed seats, with arm rests, upholstered in red vinyl. The seats are set into decorative gilt iron frames which incorporate five legs, all set into two timber floor rails. The seats are hinged to fold upwards and rest against the backrests. On ironwork "PTY. LTD"flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, theatre chairs, theatre seats 1939, warrnambool town hall seats, mozart hall warrnambool, theatre furniture, mechanics’ institute chairs, j hulin warrnambool, mozart hall choral group, eva gaspar, warrnambool music society, w.c. james, jacka-wortley fabrics pty ltd

The ES52 Kookaburra is a two seat high wing glider – sailplane of wooden construction designed by Harry Schneider and built Edmund Schneider Pty Ltd. It was first flown on 26 June 1954 and became the glider of choice for training new pilots of many gliding clubs around Australia in the 1950s, 1960s and 1970s. Several found there way to New Zealand. Further two kits were sent to Brazil and at least one of these was finished and flow successfully. The ES52 performed well with a glide ratio of about 22:1 and had soaring and cross-country capabilities. A notable feature of the ES52 design was the staggered side-by-side seating arrangement of the cockpit. This made for good in flight communication between instructor and trainee. Overall, thirty six were built by Edmund Schneider Pty Ltd. A longer wing version (the ES52B) was also introduced that had a better glide ratio (around 25:1). Five examples of this version were built. In Germany a modified ES52 was built incorporating a metal tube fuselage frame and with the addition of a engine driven propeller mounted on top of the wing which enabled the glider to be self launching. This museum collection item consists of the fuselage, tailplane, elevators, fin, rudder from the Mark I, ES 52 Kookaburra, formerly registered as VH-GFF and last owned by the Barcaldine and District Airsports Club of Queensland. The glider was in a damaged condition when it was acquired by the Museum. A decision was made by the Museum to repair the glider for display rather than endeavouring to restore it to an airworthy condition. The reconstruction of the wings is being undertaken by using parts of damaged ES 52 Kookaburra wings (as it happened from later ES 52 Marks). The Log Book for VH-GFF reveals operational life with a succession of gliding clubs around Australia. This exhibit will be of interest to gliding enthusiasts wishing to inspect the popular two seat club trainer of a by-gone era.This is a wood and fabric covered aircraft that is being rebuilt from the components of several aircraft as a non-flying exhibit.Fuselage marked with Edmund Schneider Pty Ltd Serial Number 9 and comes from the glider previously registered as VH-GFF.australian gliding, glider, sailplane, edmund schneider, es 52, kookaburra, barcaldine and district airsports club, victorian motorless flight group, alice springs gliding club, raaf richmond, raaf williamtown, gayndah gliding club, blackwater gliding club, southern downs aero and soaring club, charleville gliding club

This wedding dress was made for an unknown customer by a late 19th and early 20th century Richmond dressmaker known by her married name as Mrs Pamely. The dressmaker’s name is identified on Petersham ribbon on the bodice. (1877 was the first known use of a dressmaker’s name on a dress in Australia). The dress entered the Collection by donation. The donor, Netta Fuller, and her husband Alec, were long-term residents of Kew. In 1985, Netta Fuller and Elizabeth Pace launched a parade of garments sponsored by Kew Historical Society at Holy Trinity Church, Kew. The parade was called 'Downunder Dressmakers' and included a collection of over fifty items of clothing dating from 1800 to 1984. The core of the parade consisted of a collection of 19th Costumes worn by the ancestors of a Miss Gertrude Murray, a resident of Blackburn. In sourcing items for her collections, Netta Fuller collected costumes stored in old trunks and wardrobes, or even purchased from opportunity shops. Not satisfied with purchasing authentic costumes of the period, she also used these as models for artistic recreations. Following her retirement from both collecting and exhibiting, Netta Fuller donated a number of 19th Century items of clothing to the Kew Historical Society. Some garments were parts of costumes such as bodices, while others were complete outfits. Many of the latter exhibit signs of old damage, however very few of the costumes have been modified to enable them to be worn in exhibitions. Known provenance is limited to donor information, although some of these donations may have originally formed part of the collection owned by the Murray family. While the costumes are old and therefore historic, provenance is less important than the representativeness and or rarity of the costumes. Similarly, the costumes need to be evaluated as a group and separately, considering their aesthetic and artistic significance. This is the only 19th century costume in the Collection where the maker's name and address is known. To date, no other costumes by this dressmaker have been identified. The maker's business activity (1888-1905) allow one to, with an assessment of style, be relatively certain about its late Victorian construction. This adds to the item's significance even though its condition has been compromised by later removals and additions of decorative fabric on the bodice.Cream satin wedding dress comprised of a fitted bodice and a full skirt with a long wide train. Both the skirt and the bodice feature extensive use of ruched silk. Originally the bodice was covered with silk net embroidered with small white flowers. While sections of the net remain on the rear of the bodice (and on the sleeves), that on the front has been removed, probably due to damage. The name of the dressmaker is stamped on Petersham ribbon on the bodice."Madame Pamely, Costumiere, 41 Stanley St. Richmond"wedding dresses, australian fashion - 19th century, women's clothing, dressmakers - richmond (vic), netta fuller, fashion manufacturers - mrs pamely

Netta Fuller and her husband Alec were long-term residents of Kew. As a boy, Alec had attended East Kew Primary School and was later highly involved in the Kew Presbyterian Church during the 1950s and 60s. Netta's passion was for historic clothing and its exhibition. In 1985, Netta Fuller and Elizabeth Pace launched a parade of garments sponsored by Kew Historical Society at Holy Trinity Church, Kew. The parade was called 'Downunder Dressmakers' and included a collection of over fifty items of clothing dating from 1800 to 1984. The collection included dresses, hats, scarfs, capes, sporting costumes etc. The core of the parade consisted of a collection of 19th century costumes worn by the ancestors of a Miss Gertrude Murray, a resident of Blackburn. In sourcing items for her collections, Netta Fuller collected costumes stored in old trunks and wardrobes, or even purchased from opportunity shops. (During the period in which she collected and exhibited costumes, the latter could often be a reliable source for the purchase of historic and aesthetically significant costumes.) Not satisfied with purchasing authentic costumes of the period, Netta also used these as models for artistic recreations. Following her retirement from both collecting and exhibiting, Netta Fuller donated a number of 19th Century garments to the Kew Historical Society's costume collection. A number of garments were parts of costumes such as bodices, while others were complete outfits. Some of the latter exhibit signs of old damage, however very few of the costumes had been modified to enable them to be worn in exhibitions. Provenance, apart from that the costumes were donated by Netta Fuller after 1985 is limited to donor information, although some of her donations may have originally been part of the collection owned by the Murray family. While the costumes are old and therefore historic, provenance is less important than the representativeness and/or rarity of the costumes. Similarly, the costumes need to be evaluated as a group and separately, considering their aesthetic and artistic significance as well a their age.Long black silk sleeveless bodice with a wide band of lace on the edging and at sleeves. Silk bow at rear. It has been provisionally dated to the 1880s-90s.women's clothing, bodices, fashion -- melbourne -- 1880s, netta fuller

Netta Fuller and her husband Alec were long-term residents of Kew. As a boy, Alec had attended East Kew Primary School and was later highly involved in the Kew Presbyterian Church during the 1950s and 60s. Netta's passion was for historic clothing and its exhibition. In 1985, Netta Fuller and Elizabeth Pace launched a parade of garments sponsored by Kew Historical Society at Holy Trinity Church, Kew. The parade was called 'Downunder Dressmakers' and included a collection of over fifty items of clothing dating from 1800 to 1984. The collection included dresses, hats, scarfs, capes, sporting costumes etc. The core of the parade consisted of a collection of 19th century costumes worn by the ancestors of a Miss Gertrude Murray, a resident of Blackburn. In sourcing items for her collections, Netta Fuller collected costumes stored in old trunks and wardrobes, or even purchased from opportunity shops. (During the period in which she collected and exhibited costumes, the latter could often be a reliable source for the purchase of historic and aesthetically significant costumes.) Not satisfied with purchasing authentic costumes of the period, Netta also used these as models for artistic recreations. Following her retirement from both collecting and exhibiting, Netta Fuller donated a number of 19th Century garments to the Kew Historical Society's costume collection. A number of garments were parts of costumes such as bodices, while others were complete outfits. Some of the latter exhibit signs of old damage, however very few of the costumes had been modified to enable them to be worn in exhibitions. Provenance, apart from that the costumes were donated by Netta Fuller after 1985 is limited to donor information, although some of her donations may have originally been part of the collection owned by the Murray family. While the costumes are old and therefore historic, provenance is less important than the representativeness and/or rarity of the costumes. Similarly, the costumes need to be evaluated as a group and separately, considering their aesthetic and artistic significance as well a their age.Late Victorian highly remodelled black silk bodice with pleated silk to neck. The bodice has distinctive sleeves in two sections, the lower part constructed of black lace. The bodice has an original arm pad with makers name in it.fashion -- melbourne -- 1880s, bodices, women's clothing, netta fuller

Netta Fuller and her husband Alec were long-term residents of Kew. As a boy, Alec had attended East Kew Primary School and was later highly involved in the Kew Presbyterian Church during the 1950s and 60s. Netta's passion was for historic clothing and its exhibition. In 1985, Netta Fuller and Elizabeth Pace launched a parade of garments sponsored by Kew Historical Society at Holy Trinity Church, Kew. The parade was called 'Downunder Dressmakers' and included a collection of over fifty items of clothing dating from 1800 to 1984. The collection included dresses, hats, scarfs, capes, sporting costumes etc. The core of the parade consisted of a collection of 19th century costumes worn by the ancestors of a Miss Gertrude Murray, a resident of Blackburn. In sourcing items for her collections, Netta Fuller collected costumes stored in old trunks and wardrobes, or even purchased from opportunity shops. (During the period in which she collected and exhibited costumes, the latter could often be a reliable source for the purchase of historic and aesthetically significant costumes.) Not satisfied with purchasing authentic costumes of the period, Netta also used these as models for artistic recreations. Following her retirement from both collecting and exhibiting, Netta Fuller donated a number of 19th Century garments to the Kew Historical Society's costume collection. A number of garments were parts of costumes such as bodices, while others were complete outfits. Some of the latter exhibit signs of old damage, however very few of the costumes had been modified to enable them to be worn in exhibitions. Provenance, apart from that the costumes were donated by Netta Fuller after 1985 is limited to donor information, although some of her donations may have originally been part of the collection owned by the Murray family. While the costumes are old and therefore historic, provenance is less important than the representativeness and/or rarity of the costumes. Similarly, the costumes need to be evaluated as a group and separately, considering their aesthetic and artistic significance as well a their age.Black-coloured fitted jacket made of silk and lace with added satin ribbons.women's clothing, fashion - melbournesne - 1880s, bodices, jackets, netta fuller

Netta Fuller and her husband Alec were long-term residents of Kew. As a boy, Alec had attended East Kew Primary School and was later highly involved in the Kew Presbyterian Church during the 1950s and 60s. Netta's passion was for historic clothing and its exhibition. In 1985, Netta Fuller and Elizabeth Pace launched a parade of garments sponsored by Kew Historical Society at Holy Trinity Church, Kew. The parade was called 'Downunder Dressmakers' and included a collection of over fifty items of clothing dating from 1800 to 1984. The collection included dresses, hats, scarfs, capes, sporting costumes etc. The core of the parade consisted of a collection of 19th century costumes worn by the ancestors of a Miss Gertrude Murray, a resident of Blackburn. In sourcing items for her collections, Netta Fuller collected costumes stored in old trunks and wardrobes, or even purchased from opportunity shops. (During the period in which she collected and exhibited costumes, the latter could often be a reliable source for the purchase of historic and aesthetically significant costumes.) Not satisfied with purchasing authentic costumes of the period, Netta also used these as models for artistic recreations. Following her retirement from both collecting and exhibiting, Netta Fuller donated a number of 19th Century garments to the Kew Historical Society's costume collection. A number of garments were parts of costumes such as bodices, while others were complete outfits. Some of the latter exhibit signs of old damage, however very few of the costumes had been modified to enable them to be worn in exhibitions. Provenance, apart from that the costumes were donated by Netta Fuller after 1985 is limited to donor information, although some of her donations may have originally been part of the collection owned by the Murray family. While the costumes are old and therefore historic, provenance is less important than the representativeness and/or rarity of the costumes. Similarly, the costumes need to be evaluated as a group and separately, considering their aesthetic and artistic significance as well a their age.Black silk velvet, long-sleeved, waisted padded winter bodice with black lace and beading at cuffs and at basque. women's clothing, bodices, fashion - melbourne - 1880s, netta fuller

Netta Fuller and her husband Alec were long-term residents of Kew. As a boy, Alec had attended East Kew Primary School and was later highly involved in the Kew Presbyterian Church during the 1950s and 60s. Netta's passion was for historic clothing and its exhibition. In 1985, Netta Fuller and Elizabeth Pace launched a parade of garments sponsored by Kew Historical Society at Holy Trinity Church, Kew. The parade was called 'Downunder Dressmakers' and included a collection of over fifty items of clothing dating from 1800 to 1984. The collection included dresses, hats, scarfs, capes, sporting costumes etc. The core of the parade consisted of a collection of 19th century costumes worn by the ancestors of a Miss Gertrude Murray, a resident of Blackburn. In sourcing items for her collections, Netta Fuller collected costumes stored in old trunks and wardrobes, or even purchased from opportunity shops. (During the period in which she collected and exhibited costumes, the latter could often be a reliable source for the purchase of historic and aesthetically significant costumes.) Not satisfied with purchasing authentic costumes of the period, Netta also used these as models for artistic recreations. Following her retirement from both collecting and exhibiting, Netta Fuller donated a number of 19th Century garments to the Kew Historical Society's costume collection. A number of garments were parts of costumes such as bodices, while others were complete outfits. Some of the latter exhibit signs of old damage, however very few of the costumes had been modified to enable them to be worn in exhibitions. Provenance, apart from that the costumes were donated by Netta Fuller after 1985 is limited to donor information, although some of her donations may have originally been part of the collection owned by the Murray family. While the costumes are old and therefore historic, provenance is less important than the representativeness and/or rarity of the costumes. Similarly, the costumes need to be evaluated as a group and separately, considering their aesthetic and artistic significance as well a their age.Black silk and lace bodice.victorian fashion, netta fuller, bodices

Netta Fuller and her husband Alec were long-term residents of Kew. As a boy, Alec had attended East Kew Primary School and was later highly involved in the Kew Presbyterian Church during the 1950s and 60s. Netta's passion was for historic clothing and its exhibition. In 1985, Netta Fuller and Elizabeth Pace launched a parade of garments sponsored by Kew Historical Society at Holy Trinity Church, Kew. The parade was called 'Downunder Dressmakers' and included a collection of over fifty items of clothing dating from 1800 to 1984. The collection included dresses, hats, scarfs, capes, sporting costumes etc. The core of the parade consisted of a collection of 19th century costumes worn by the ancestors of a Miss Gertrude Murray, a resident of Blackburn. In sourcing items for her collections, Netta Fuller collected costumes stored in old trunks and wardrobes, or even purchased from opportunity shops. (During the period in which she collected and exhibited costumes, the latter could often be a reliable source for the purchase of historic and aesthetically significant costumes.) Not satisfied with purchasing authentic costumes of the period, Netta also used these as models for artistic recreations. Following her retirement from both collecting and exhibiting, Netta Fuller donated a number of 19th Century garments to the Kew Historical Society's costume collection. A number of garments were parts of costumes such as bodices, while others were complete outfits. Some of the latter exhibit signs of old damage, however very few of the costumes had been modified to enable them to be worn in exhibitions. Provenance, apart from that the costumes were donated by Netta Fuller after 1985 is limited to donor information, although some of her donations may have originally been part of the collection owned by the Murray family. While the costumes are old and therefore historic, provenance is less important than the representativeness and/or rarity of the costumes. Similarly, the costumes need to be evaluated as a group and separately, considering their aesthetic and artistic significance as well a their age.Long-waisted black fitted silk and lace bodice with black wooden buttons. The lace at the edge of the bodice may have been added at a later period.day dresses, women's clothing, mourning wear, fashion -- 1880s, netta fuller

Netta Fuller and her husband Alec were long-term residents of Kew. As a boy, Alec had attended East Kew Primary School and was later highly involved in the Kew Presbyterian Church during the 1950s and 60s. Netta's passion was for historic clothing and its exhibition. In 1985, Netta Fuller and Elizabeth Pace launched a parade of garments sponsored by Kew Historical Society at Holy Trinity Church, Kew. The parade was called 'Downunder Dressmakers' and included a collection of over fifty items of clothing dating from 1800 to 1984. The collection included dresses, hats, scarfs, capes, sporting costumes etc. The core of the parade consisted of a collection of 19th century costumes worn by the ancestors of a Miss Gertrude Murray, a resident of Blackburn. In sourcing items for her collections, Netta Fuller collected costumes stored in old trunks and wardrobes, or even purchased from opportunity shops. (During the period in which she collected and exhibited costumes, the latter could often be a reliable source for the purchase of historic and aesthetically significant costumes.) Not satisfied with purchasing authentic costumes of the period, Netta also used these as models for artistic recreations. Following her retirement from both collecting and exhibiting, Netta Fuller donated a number of 19th Century garments to the Kew Historical Society's costume collection. A number of garments were parts of costumes such as bodices, while others were complete outfits. Some of the latter exhibit signs of old damage, however very few of the costumes had been modified to enable them to be worn in exhibitions. Provenance, apart from that the costumes were donated by Netta Fuller after 1985 is limited to donor information, although some of her donations may have originally been part of the collection owned by the Murray family. While the costumes are old and therefore historic, provenance is less important than the representativeness and/or rarity of the costumes. Similarly, the costumes need to be evaluated as a group and separately, considering their aesthetic and artistic significance as well a their age.Black-coloured silk bodice with leg-of-mutton sleeves. Date: ca. 1890s.australian fashion -- 1890s, bodices, dresses, netta fuller

The knitting machine is a recently designed instrument, especially when it is compared with its ancient counterpart, the loom. It enables the creation of many metres of fabric very quickly. A knitting machine is composed of a series of needles which mimic the process of manual knitting. The mechanism engages numerous mechanical elements simultaneously and enables the creation of many metres of fabric very quickly. In addition, a knitting machine can be setup to produce unique bolts of fabric. The density of the fabric may be modified and a knitting machine can produce double-faced effects. A doubled-faced effect creates colour combinations through the introduction of an additional colour to the knitting pattern. This knitting machine is a Coppo brand. It contains over five hundred needles and was produced in the 1960s. It is a representation of the best available in the world at that time. Originating from Italy, it was designed for commercial use. Through both precision and capacity, Italian artisans were seen to be the best in the world of textiles and knitwear. Through emigration, globalisation and the regularly available quantities of wool, Australia came to compete on this stage. The owner of this particular machine migrated from Italy in 1959. When she did, she brought with her a Dubied knitting machine. She later replaced it with this Coppo. When in Australia the owner began work as a piece worker, knitting jumpers and worked for some of the iconic names in the Australian knitting trade including ES Poratt and Alpin Manufacturing. The owner’s role progressed from a piece worker to a wool garment designer and she won many Wool Industry Awards in the 1970s and 1980s. Her high quality of work using and her individual custom designs were spoken about by many of her customers and she had a very large private clientele. She designed and knitted fully fashioned tailored jumpers for people for around 30 years.Knitting table sits on a stand with wide metal legs. Legs contain lettering 'COPPO torino'. Legs are connected via three thin metal poles as well as a metal band and the bed of knitting table at top. The connecting metal band has the lettering 'SUPER - COPTAL' attached. The Knitting table itself contains two beds and a bench at the rear. Attached to the bench is a thin metal structure for the elevation of yarn. It has four crane esk structures above on this metal structure. The bench is covered in a pale grey laminate in the imitation of wood. Attached to the knitting bed is a sliding contraptions containing two handles at the front followed by a complex semi-circle sliding mechanism used to move the knitting mechanism front and back.Left Stand. Lettering: Coppo Torino Right Stand. Lettering: Coppo Torino Centre Stand. Lettering SUPER - COPTALcoppo, knitting machine, design, italy, wool, business, migrants

The donor and family of this gown were long-term Brighton residents, and the gowns were held by them as family heirlooms prior to donation to Brighton Historical Society. Originally owned by Elizabeth Emma Adams and Cecilia Elizabeth Adams, it is believed that the dress was brought to Australia by either a half brother, James Smith Adams, or a younger sister, Sophia Charlotte Louisa Adams (later known as Mother Rose Columba Adams). Elizabeth and Cecilia were the daughters of James Smith Adams (a squire, 1780-1860) and Elizabeth Emma McTaggart (1793-1843) of Tower House, Woodchester in Gloucester, a property which Elizabeth later inherited. Originally a monastery, Tower House had been converted into a stately home after the Reformation. According to information originally provided by the donor, the skirt portion of this dress (along with the bodice T0004.3) was made for either Elizabeth or Cecilia to be worn at the young Queen Victoria’s first 'drawing room ball' following the end of court mourning in 1838 for her uncle William IV who died in 1837. In 1838 Cecilia would have been twelve years old and Elizabeth would have been ten years old. It is possible that this dress was worn by one of the girls to this event as it is of appropriate dimensions for a child of that age, although its design is very formal and adult. Elizabeth was born on 30 June 1828 at Tower House and died on 1 May 1909. She created a scandal when she eloped with her first husband, Thomas Charles Gardiner at the age of 18. The validity of the marriage was later formally investigate and, while it was confirmed as valid, a second church wedding was subsequently held. Thomas died in 1878. Elizabeth subsequently remarried Reverend R. E. Blackwell, but was widowed again by 1889. Cecilia was born on 17 December 1826 and died in 1902 a spinster recluse in England. At the inquest into Cecelia's death in 1904 it was revealed that she had clearly come from a family of means as her home was filled to the brim with highly valuable goods, many in boxes. She was buried in the family vault at Woodchester. Elizabeth and Cecilia's sister Sophia converted to Roman Catholicism in 1851 and became a nun, taking the religious name 'Rose Columba'. In 1883 Mother Rose Columba led a group of eight to Australia, answering a call for Dominican sisters to nurse the sick in Adelaide. Upon arrival, she founded St. Dominic's Priory and the Church of Perpetual Adoration in North Adelaide, using her inheritance to build the chapel. Elizabeth's second son, George Henry Somerset, who inherited the Adams family estate dropped the 'i' in Gardiner and added the maiden name of his grandmother. Therefore, the family name has now become Gardner McTaggart. These Adams family entries have been updated with information provided by Dr Herbert Gardner McTaggart, great-grandson of George Henry Somerset in April 2016. Mr McTaggart contacted the society after finding our entries online.A hand and machine sewn cream, pale blue, orange and gold embroidered satin formal dress, the bodice dates from circa 1890. This dress shares a skirt with T0004.3, which dates from circa 1840. The bodice features a high scoop neckline with gathers at the base of the scoop and directly below where the bodice finishes creating fullness over the bust. The bodice front encloses the bust with a right panel over the top of a left panel and securing with two hook and eye closures over the left shoulder. The panels are secured together with 15 hook and eye closures. The sleeves are set neatly on the true shoulder and are elongated full puffs to just above the elbow. The fullness is created by nine pleats from the top of the shoulder over the back of the shoulder. At the base of the sleeve the fullness is gathered just above the elbow. At the centre back of the bodice are four inward facing pleats running from the centre neck to the waist. The bodice is secured around the waist with a tape and four hook and eye closures. The bodice is boned around the sides and back of the torso with eight bones. This bodice is finished at the waist with a pleated cummerbund of the dress fabric that is designed to appear to be a sash with two decorative bows. One front left of centre and one back right of centre. The skirt secures at the waist with an opening to the left of centre at the back. The skirt gathers tightly at the centre back with a dart on either side. The skirt has a front central panel and the skirt falls to floor length. At the back, the skirt is also floor length. The back of the skirt may have been modified at some time and may have originally finished in a train. It would be more appropriate to the period of the bodice, and the believed use of the dress with a train.cecilia elizabeth adams, elizabeth emma adams, queen victoria, tower house, woodchester, james smith adams, elizabeth emma mctaggart, sophia charlotte louisa adams, 1890s fashion

A sextant is an astronomical instrument used to determine latitude and longitude at sea by measuring angular distances, especially the altitudes of the sun, moon, and stars. It is a doubly reflecting navigation instrument and used mainly by sailors to measure the angular distance between two visible objects. The name comes from the Latin sextans, or “sixth part of a unit,” because the sextant’s arc can be 60° or 120° of a circle depending on the model used. The primary use was to measure the angle between an astronomical object and the horizon for the purposes of celestial navigation. The estimation of this angle is known as sighting or shooting the object, or taking a sight. This angle and the time when it was measured is used in order to determine Greenwich Mean Time and hence longitude. Sighting the height of a landmark on land can also give a measure of distance from that object. History: The development of the sextant was as an improvement over the octant, an instrument designed to measure one's latitude. The octant was first implemented around 1731-present but can only measure angles up to 45°. As larger angles were needed to allow the measurement of lunar objects - moon, stars and the sun - at higher angles, the octant was superseded by the sextant. The sextant is a similar instrument but better made and allows larger angles from 60° to 120°. This improvement allows distances to be accurately calculated thereby giving longitude when used with a chronometer. The sextant was derived from the octant in 1757, eventually making all previous instruments used for navigational positioning obsolete. The sextant had been attributed to by John Hadley (1682–1744) and Thomas Godfrey (1704–1749), but reference to the sextant was also found later in the unpublished writings of Isaac Newton (1643–1727). Earlier links can be found to Bartholomew Gosnold (1571–1607) indicating that the use of a sextant for nautical navigation predates Hadley's implementation. In 1922, the sextant was modified for aeronautical navigation by Portuguese navigator and naval officer Gago Coutinho. It should be noted that the octant and quadrant are in the same family as they were, and all are, regarded as sextants. The sextant is representative of it's type and although not fully complete it demonstrates how 18th,19th and 20th century mariners determined their latitude and longitudinal to determine their position on a chart, allowing them to navigate there way across the world's oceans. It also demonstrates the skill and workmanship of the early instrument makers that operated scientific instrument businesses from London and other areas of England to provide most of the navigational instrumentation used by commercial and military navies of the time.Sextant with square, fitted box of polished wood, "Hezzanith" brand. Box contains many parts for the sextants use. On certificate "Heath & Co, London. Sextant Number Y 822". Catch on lid "DEFIANT LEVER" and "PATENT NUMBER 187.10". Maker's certificate is attached to the inside of the box.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, sextant box, sextant, hezzanith, heath & co, navigational instrument, george wilson heath, astronomical instrument, instrument manufacturers, scientific instrument, navigation, celestial navigation, octant, quadrant, lunar navigation