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Eltham District Historical Society Inc
Photograph (Item) - Print, Sylvia Wiseman, Eltham Park, 1988
View looking north along the Diamond Creek Trail, north of Bridge Street near footbridge across the Diamond Creek. Eltham Town Park was partially constructed on a tip site. The park and lake were landscaped in 1973-1974. As early as late 1980 a proposal to rename it Alistair Knox Park was met with significant community resistance with a petition of 1600 signatures against however Council ultimately pushed the name through in 1987. Many residents continued to call it Eltham Town Park for some years later. Sylvia Wiseman 1988 Entrant No. 70 No negative The photographer noted that in a sad indictment of the local community, this German Shepherd dog and another had been abandoned by their owners to scavenge through the bins and chase the drunks around the lake at dawn. Both dogs were impounded and the owners never claimed them. As a consequence they were eventually both put down. SHIRE OF ELTHAM COMMUNITY PHOTOGRAPHIC SURVEY Photography is an artform which many of us practice, sometimes purely for artistic pursuit, sometimes to record the people and events in our lives. In 1988, as part of a local Bicentennial project, the Shire of Eltham conducted the Eltham Community Photographic Survey. Up to 100 entries were to be selected by a panel of photographers for entry into the Eltham Photographic Survey Exhibition. Entries had to be submitted by May 13, 1988. Entrants whose images were selected for the exhibition were contacted and requested to further submit an entry form providing entrant’s name, area of residence, age, and proposed captions. These details were then used to produce labels for the exhibition mounts. Where negatives had not been supplied, these were requested to support the display of printed enlargements mounted on 10” x 8” cardboard. The mounted prints were made available post exhibition for sale at $8.50 each for colour prints and $7.00 for B&W prints. Residents in the Shire were invited to collect a free roll of film and take a photograph of what they either liked or did not like about the area. A total of 160 entrants submitted multiple entries for the exhibition. Of those selected for exhibition, entrants ranged in age from 9 to 70 years. All custom colour and black and white printing for the exhibition was completed by Wattle Studios of Eltham. The Eltham Photographic Survey was jointly auspiced by the Shire of Eltham and Wattle Studios, of 953 Main Road, Eltham. The project was greatly assisted by: • David McRitchie, Media Studies Lecturer Victoria College, Rusden Campus. • Ian and Annette Toohill of Wattle Studios • Tracy Naughton, Eltham Community Arts Officer • Neville Emerson Pty. Ltd. • Superior Press, Eltham • Kodak Australasia Pty. Ltd. • Agfa Gevaert Ltd. • Townsend Colourtech Pty. Ltd. • The Australian Bicentennial Authority • Eleanor Bowers, Secretary, Eltham Arts Council The exhibition was placed on display in the Woolworths Arcade, Eltham between Monday June 6th and Saturday June 11, 1988. It was also intended to hold the exhibition at a venue in the Shire’s North Riding from Monday, June 20 to Friday June 24. It was then displayed at the Were Street Theatre, Montmorency from Friday, June 24 to Thursday, July 7. Series 34: Eltham Community Photographic Survey 1988 - Prints & Documentation Series consists of 117 photographs of Shire scenes taken by members of the community. Items I - 41 are larger photographs mounted on card, which were exhibited. Items 42 - 117 are unmounted copies, alternative takes and other entries. Corresponding negatives contained in Series 35: Eltham Community Photographic Survey 1988 – Negatives which consists of 267 colour and B&W negatives and one colour slide of Shire scenes taken by members of the community. The negatives are arranged by the entrant number of the photographer. The Eltham Community Photographic Survey collection is significant to the local community as it was curated by the local community - ordinary people of all ages - representing what they liked and did not like in the area where they lived. It represents an unfiltered representation of the Shire of Eltham as it was in 1988. It also represents one of many projects as part of the national programme of events and celebrations to commemorate the bicentenary. It is a time capsule of life in the 1980s of this urban and rural municipality in Melbourne's north. Rear: Entrant No., name and address in blue ink; also 'Series 34' and the 'Item No.' in orange inkshire of eltham archives, bicentennial project, eltham, eltham community photographic survey, series 34, alistair knox park, diamond creek trail, eltham town park, sylvia wiseman -
Mission to Seafarers Victoria
Article, A Woman's Melbourne Letter
A detailed description of the Mission and its activities written by a woman: Western Mail (Perth, WA : 1885 - 1954), Friday 13 December 1918, page 34 A WOMAN'S MELBOURNE LETTER. Melbourne, Dec. 4. There is an idea abroad, which as regards Melbourne, at any rate, is quite erroneous, that our sailors are not as well looked after as our soldiers, and that the noble men of the Mercantile Marine are much neglected ! For once, perhaps, my readers will pardon a letter dealing with only one subject, but the steady, unostentatious work done by the Ladies' Harbour Light Guild, in connection with the mission to seamen in Melbourne could not be adequately explained if dismissed in the usual short paragraph. Some of the most prominent names in Melbourne are associated with this guild and with the Mission Chaplain, and Mrs. Gurney Goldsmith, the members have made the Seamen's Institute a real home for those sailors of the Mercantile Marine, who touch our port. What we as a community owe to those men by their heroism in recent hostilities is certainly more understood by this band of enthusiastic workers than by the community generally. By using their unflagging energies, and influence on the sailor's behalf they endeavour to discharge a debt to which in some way or other we could and should all contribute. Even the most casual person can, if he thinks at all, sum up a few of the things our sailors - other than those belonging to our glorious navy - have done for us. On the spur of the moment we remember that those of the Mercantile Marine, are the men who manned our transports, who carried our wheat and wool, to oversea markets; who kept us in touch with our loved ones abroad; who kept the fires going in the furnaces of the great leviathans, bringing our wounded soldiers home again; who never flinched when self-sacrifice was demanded; who cared, with that tenderness, innate in all sailors, for the women and children, when the passenger ships were struck a dastardly blow by the wicked enemy; who, mocking death, gave up life with a heroism all the more heroic because it was always taken as a matter of course! Is it any wonder, then, that the members of the Ladies' Harbour Light Guild make it their business to provide a bright, homelike, spot in Melbourne, where the sailors are always certain of a cherry welcome ashore? The members of the guild are admirably drafted! The 360 non-workers each pay £1 1s. per annum. The workers, of whom there are between 700 and 800, donate 2s. 6d. and school members - it is confidently hoped that gradually all the schools will take an active interest in the mission - 1s. a year. The knights of the guild - as the men members are designated - are responsible for any sum they wish to name, from 5s. a year upwards. Everything is paid for out of these revenues, with the exception of a small grant from the Home Mission Fund - and such is the organisation, and management, that the entire concern is quite free from debt. The Seamen's Church and Institute, where the "Harbour Lights" gleam so brightly, is situated right in the midst of all the bustle and turmoil of the wharves, at the end of Flinders-street. The building, comprising chapel, and institute under the one red tiled roof, is grey stuccoed, with a small tower, from which flaunts the flag of 'The Flying Angel" - the badge of the guild. A visit to the institute makes one fully appreciate the boon the place must be to the voyage worn, weary, sailor. The atmosphere is eminently social in its best sense. While the architecture imparts an elegance, and quiet dignity which soothes by the very subtlety of its charm. With its comfortable furniture, its wealth of flowers, and the happy, wholesome, feminine influence which prevails everywhere, the quality which stands for the magic word "home" abounds. The Chaplain in the course of conversation said: -"We try to make this really a free club for sailors." But the habitues would probably tell you it was far more than that to them. The Institute is excellently appointed, and every little corner seems to have its particular history. It was built after the model of one of the old mission churches in California, and retains something of the old world attraction, while yet it combines all the advantages of modern, practical, conveniences. On entering the door the first thing, one notices is a huge compass, inlaid upon the floor, evidently to indicate one's proper bearings for it points due north - to the chapel! Only one other seamen's mission in the world boasts such a compass. As the sailor swings through the entrance he finds the office on his right, and there is, here, always a smiling face to welcome the shy, or timid, new comer. Quite a real post office is staffed by members of the guild, and all the letters received are listed alphabetically. Therefore, the expectant sailor has just to run his eye down the list, and he can immediately see whether there is a letter for him or not. If he is fortunate, he comes up to the member in charge, who unlocks the box, and produces the longed for missive. The boys are always encouraged to answer letters - and to write them. Often a few words about their mother, and their own home, will provoke a sleeping memory into activity. The writing room is well stocked with paper, envelopes, pens, and ink. The tables are so divided to ensure the utmost privacy, and through a calculated chain of circumstances, many an anxious mother receives a letter from her sailor lad, who, perhaps, might not have written but for these kindly inducements. The central hall - where social evenings are held every other night besides two special concerts a week - is inviting in the extreme. A handsome piano affords opportunity for those musically inclined. The tables are strewn with papers. The walls are bright with pictures, and here, and there, is a carved model, of a ship. One, of especial interest, is a model of "The Roon" carved, and presented by a French sailor. This German vessel will always be remembered in Australia. For it was across her bows that the first hostile shot was ever fired in Australian waters. In the corner is the canteen. It was fitted up entirely from the proceeds of a quotation calendar compiled by one of the members. The sailors may at any time, get a teapot of tea, or a tray of eatables, at a nominal cost. Before the canteen was in existence they had to go out for refreshments! - and sometimes they did not come back! Groups of sailors sit chatting at the tables. Half a dozen Swedes laugh and talk among themselves, for the simple reason they know no other language than their own. Several British sailors cluster about a dark-eyed Welsh lad - a perfect Celtic type - who, although only about twenty years of age, has been the victim of the Hun five times. Mines and torpedoes sank the ships he was in, either in the Channel or off the English coast, four times; and it is to his fifth experience, when the Inverness was wrecked, that everyone is eagerly listening. "We were in the boats eight days," he was saying, "I was pretty well mangled when they picked me up. The sufferings we endured were awful. At last we managed to reach Rapa, a Hawaiian island. The natives thought we were Germans, and came at us with spears. When they found we were British, they were awfully good to us. They even cried when we left, and the day before the rescue boat arrived they begged us to go into the hills and hide." At another table a Canadian lad - once a sailor - then a soldier, who trained at the Broadmeadows camp - was telling his experiences : - "The voyage which will always stick in my memory," he said, "was to a place which must be nameless. We left the United States not knowing whether we were bound, or what we were going to do. After some weeks we sighted a group of wonderfully beautiful islands, and we headed for the most remote and most lovely of them all. Then, and only then, we learned our mission from the skipper. We were taking their year's supply to a leprosy station! Oh no! I don't blame the skipper for not telling us ! Someone has to do these things, you know. A naval guard saw they didn't come near - and we all got sixty dollars extra. When the job was over we were quarantined on another island for two months, and one little chap - the baby of the crew, not eighteen - developed leprosy, and died before we left. Yes! I'll never forget that voyage, mates! Sometimes, I seem to see Leper's Island yet, with its lavish tropical vegetation and the gorgeous sunsets which stained all the water with blood. Then, too" - here the voice deepened - "there was an English girl - a leper - there. We heard she used to be an actress, and she contracted the disease somehow or other. She was always alone, and always watching us. In the distance we could see her come to the water's edge, and from there she would watch. Just watch . .. . watch . . .watch. ..." "Here come a couple of North Sea chaps," broke in an elderly man after pause. "One of them wounded, too, poor lad." It is not strange that all the sailors flock to the Institute. It is so comfortable, and essentially inviting, besides being full of human interest. The men's quarters comprise reading, writing and dressing rooms - hot and cold baths are always available - billiard room, and a special baggage room, where any sailor may leave his kit for as long as he likes. The payment of 3d. covers its complete insurance. Upstairs are the officers' quarters. These also have their own billiard room, writing and reading rooms, bath and dressing rooms. Just close are the apprentices' quarters - "The Half Deck," as popular parlance has it! The lads also have a billiard room of their own, and indulge in an easy armchair - amongst others - which was a donation from the Milverton School branch of the Guild. It is hoped by the committee to some day utilise the huge empty rooms, which run the length of the whole building. Their ultimate intention is to fit them up as cubicles, or "cabins," as they are to be called. They trust these "cabins" will be donated, either in memory, or in honour, of someone dear to the donor. Another forward movement soon to be put in hand, now that materials are available, is the establishment of "Norla Gymnasium." In a sailors' club such facility for exercise is absolutely essential. The men both need, and miss, exertion. As one boy, who had been backsliding, once said pathetically : -"If only there was something to do to get me into a good sweat, I would be all right." Soon such an one will be helped to swing from the trapese of the Norla Gymnasium into the right track! Sunday is always a fete day at the Institute, for 40 or 50 sailors generally come into tea. The up-to-date kitchen, which is fitted with every labour-saving appliance - all paid for out of working members' half crowns - is then a hive of animation, and methodical order. A formidable row of teapots await filling. Mrs. Goldsmith -, the chaplain's wife - rightly thinks it is far more homely to pour out the tea from a pot, than to serve it straight from the urns. So tea is poured out by a member, who sits at the head of a table gay with flowers, and chats to the guests. These latter are of all nationalities. But the French, the Spanish, Scandinavian, Norwegian - or any other sailor is equally welcome with the British. Two enthusiasts belonging to the Guild actually learnt Norwegian, so that men of this nation would have someone to talk to, and so be less lonely when they reached this, to them, foreign port ! The members of the Guild have their own private suite where they arrange the flow-err and do other necessary odds and ends undisturbed. No one appreciates flowers like a sailor, and the earliest and most beautiful may always be seen adorning the tables and rooms. Teas are served and lectures are held in the "Celia Little Hall," one of the most beautiful portions of the institute. It was erected by the chaplain in memory of his aunt from whom the hall takes its name. The Gothic windows open upon the cloisters, where, in the hot weather, the sailors enjoy their meals out of doors. The cloisters, indeed, form an exquisite spot. They are between a series of sweeping arches which lead to the chapel, and are sheltered by the open balcony of the chaplain's quarters. Grace of contour marks the architecture on every turn. Just around the corner is the chaplain's garden - a patch of green and colour, transformed from a desert waste, by a well-known woman horticulturist. The book room is a department especially valued by the sailors. There are two secretaries, one for home and the other for foreign literature. Books in French, English, Spanish, Scandinavian, Norwegian, and German may be found on the shelves. Each week about 36 convenient parcels of reading stuff are made up. These contain illustrated papers, books in various languages, and magazines. These parcels are eagerly accepted by the sailor with a long monotonous voyage before him. But complete as is every corner of the institute, no part is so well equipped as the memorial chapel erected by the Ladies' Harbour Light Guild, in memory of the officers and men, who have lost their lives during the war. St Peter's - for it is called after the sailor's patron saint - with its hallowed gentle dignity is a veritable sanctuary of peace, perhaps all the more so because it sprang out of war. The fittings are entirely of Australian wood. The pews, given in memory of some loved one by one of the members, are of Tasmanian hardwood. The reredos and altar chairs of carved blackwood. The rich carpet was provided by the members' magical half-crowns. Already this chapel holds memorials of peculiar historical interest. The altar lectern was given in memory of Commander Elwell, who, it will be remembered, was killed at Rabaul, in the early part of the war. The font commemorates two heroes - Nigel Hockley and Fred Hyde, who lost their lives at the hands of the Germans, although they survived the actual torpedoing of their ships, the Galgorn Castle off the coast of Ireland. The mother of one of them wrote out that her son had died as an Englishman should - fighting for the right. This noble sentiment is suitably paraphrased upon the inscription engraved upon the font. Practically every-hing enshrined in the chapel has its own sentimental value. The alms salver of beaten copper, studded with agate, is fragrant with the memory of a saintly woman.The eye of the sailor is caught and held by the pulpit, which is fashioned like a ship's hull and only a twist of rope guides the chaplain up the steps. For the last 13 years the Rev. A. Gurney Goldsmith, M.A., has acted as chaplain to the Seamen's Mission in Melbourne. Before that he and his wife worked in China. Mr Goldsmith visits all the boats and gets in touch personally with the sailor, over whom he has great influence. He is not only their chaplain and friend, but, amongst a wide range of other things, their banker besides. An exchange system exists between the various Missions, and the sailor who has "banked" his money with the chaplain, upon going away, receives a cheque which is cashed - minus exchange - by the chaplain of the next port. Mr. Goldsmith will tell you he has a soft spot in his heart for on old sailor he calls "Paddy." This ancient mariner has been wrecked ten times. It was a long time before the chaplain prevailed upon "Paddy" to partake of the spiritual and secular advantages afforded by the institute. He would not come, he said, until he could do so "with a good heart." Finally he frankly admitted that he had no "friends like those of 'the Flying Angel,' " and that he eventually proved his own "good heart" will be shown in this story. One day he came in to the chaplain and said bluffly, "Well, sir, I've been payin' off some old scores up Carlton way, an' I tells yer, plain, sir, not one of 'em would have seen a penny of their money but for the Mission." The Ladies' Harbour Light Guild has over thirty working suburban branches, and the excellent results achieved at the Institute now will no doubt be considerably augmented in the future. The practical actions of the members do more than anything else to convey the subtle meaning of the name of the Guild. To the visiting sailors the word "ladies" signifies the bread givers; "harbour" safety ; "lights" welcome; "guild" the welding of fraternity, and they one and all tell you the ideals thus embodied are unselfishly carried out by all the ladies who have banded together to care for the sailors' welfare.The article describes the Mission and the use of several spaces a year after its opening and gives details about the daily activities.Digital copy of an article published in the Western Mail on the 13th of December 1918. 717 flinders street, seamen's mission, norla dome, lhlg, reverend alfred gurney goldsmith, celia little room, garden, frederica godfrey -
Flagstaff Hill Maritime Museum and Village
Photograph - Shipwreck rescue, c. 1890's
The photograph taken on Sunday September 6, 1891, shows the Port Campbell Rocket Rescue Crew and Equipment at Wreck Beach, Moonlight Head, preparing to save the stranded men on the wreck of the barque Fiji. The man standing in the middle, front of the photograph, facing the ocean, is Herbert Maxwell Morris, a farmer at Barruppa near Princetown, also a member of the Rocket Rescue Crew. The Rocket Rescue lifesaving method used an explosive rocket to shoot a light line from shore across to the distressed vessel. The line was then secured to the ship’s mast and a heavy, continuous line was then sent out with a ‘breaches buoy’ attached (a buoy similar to the seat of a pair of trousers). The stranded seafarers would sit in the seat and be pulled along the line to safety. A lot of skill was needed to set up the line to reach its target and the Crew trained regularly to keep up their skills. The three-masted iron barque Fiji was built in Belfast, Ireland, in 1875 by Harland and Wolfe for a Liverpool based shipping company. The ship departed Hamburg on May 22, 1891, bound for Melbourne under the command of Captain William Vickers with a crew of 25. The Cape Otway light was sighted on September 5, 1891. However, the bearing was different from Captain Vickers’ calculations. At about 2:30am the next morning land was reported only 4-5 miles away. The captain tried to redirect the ship in the rough weather without success and the Fiji struck rock only 300 yards (274 metres) from shore. The crew burned blue lights fired rockets to signal distress. The lifeboats either capsized or were swamped and smashed to pieces. Two younger crewmen volunteered to swim for the shore with a line. One, a Russian named Daniel Carkland, drowned after he was swept away when the line broke. The other, Julius Gebauhr, a 17 year old German able seaman, reached shore safely on his second attempt but had cut the line lose with his sheath-knife when it tangled in kelp. He climbed the steep cliffs in search of help. Later that morning a young man, William (Willie) Ward, saw the wreck of the ship close to shore near Moonlight Head from the cliffs and the alarm sent for help from Princetown, six miles away. At around the same time a Mott’s party of land selectors, including F. J. Stansmore, Leslie Dickson, was travelling on horseback from Princetown towards Moonlight Head. They were near Ryans Den when they found Gebauhr in the scrub, bleeding and dressed only in singlet, socks and a belt with his sheath-knife. They thought the man may be an escaped lunatic, due to his wild and shaggy looking state and what seemed to be gibberish speech. After Gebauhr threw his knife away they realised that he was speaking half-English, half-German as he talked about the wreck. They gave him food, brandy and clothing, and he was taken to a nearby guest house Rivernook, owned by John Evans, where he was cared for. Most of the party went off to the wreck site. Stanmore and Dickson rode for help from both Port Campbell for the two Rocket Rescue Crew buggies, and Warrnambool for the lifeboat. The vessel S.S. Casino sailed from Portland towards the scene. Half of the Port Campbell Rocket Crew and equipment arrived after a 25 mile journey and set up the rocket tripod on the beach below the cliffs. By this time the weary crew of the Fiji had been clinging to the jib-boom for almost 15 hours, calling frantically for help. The Office in Charge of the Rocket Crew, W. Tregear, ordered the rocket to be fired but the light line broke and the rocket was carried away. A second line, successfully set up by Herbert Morris, crossed the ship and was secured. The anxious sailors tried to come ashore along the line but some were washed off as the line sagged with too many on it at one time. Other nearly exhausted crewmen made their way through masses of seaweed and were often smothered by waves. Only 14 of the 24 who had remained on the ship made it to shore. Rocket Crew members and onlookers on the beach took it in turns to go into the surf and drag the half-drowned seamen to safety. These rescuers included Bill (William James) Robe, Herbert Morris, Edwin Vinge, Hugh Cameron, Fenelon Mott, Arthur Wilkinson and Peter Carmody, who was also involved in the rescue of men from the Newfield. Arthur Wilkinson, a 29 year old land selector, swam out to help one of the ship’s crewmen, a carpenter named John Plunken who was trying to swim from the Fiji to the shore. Two or three times both men almost reached the shore but were washed back to the wreck where they were both hauled back on board. Wilkinson was unconscious, possibly from hitting his head on the anchor before they were brought up. Plunken survived but Wilkinson later died and his body was washed up the next day. The 26 year old Bill Robe hauled out the last man; it was the captain and he’d been tangled in the kelp. Only 20 minutes later the wreck of the Fiji was smashed apart and it settled in about 6m of water. Of the 26 men on the Fiji, 11 in total lost their lives. The remains of 7 bodies were washed onto the beach. Their coffins were made from timbers from the wrecked Fiji and they were buried on the cliff top above the wreck. The survivors were taken to Rivernook and cared for over the next few days. Funds were raised by locals soon after the wreck in aid of the sufferers of the Fiji disaster. Captain Vickers was severely reprimanded for his mishandling of the ship. His Masters Certificate was suspended for 12 months. There was public criticism of the rescue. The important canvas ‘breeches buoy’ and heavy line for the Rocket Rescue was in the half of the rocket outfit that didn’t make it in time for the rescue as they had been delayed at the Gellibrand River ferry. The communications to Warrnambool were down so the call for help didn’t get through on time. The boat that had been notified of the wreck failed to reach it in time. Much cargo looting occurred. One looter was caught with a small load of red and white rubber balls. Essence of peppermint mysteriously turned up in many settlers homes. Sailcloth was salvaged and used for horse rugs and tent flies. Soon after the wreck “Fiji tobacco” was being advertised around Victoria. A Customs officer, trying to prevent some of the looting, was assaulted by looters and thrown over a steep cliff. He managed to cling to a bush lower down until rescued. In 1894 some coiled fencing wire was salvaged from the wreck. Hundreds of coils are still strewn over the site of the wreck, encrusted and solidified. The hull is broken but the vessel’s iron ribs can be seen along with some of the cargo of concrete and pig iron. Captain Vickers presented Bill Robe with his silver-cased pocket watch, the only possession that he still had, as a token for having saved his life and the lives of some of the crew. Years later Bill used the pocket watch to pay a debt, and it was handed down through that family. Seaman Julius Gebauhr later gave his knife, in its hand crafted leather sheath, to F. J. Stansmore for caring for him when he came ashore. The knife handle had a personal inscription on it. A marble headstone on the cliffs overlooking Wreck Beach pays tribute to the men who lost their lives when Fiji ran aground. The scene of the wreck is marked by the anchor from the Fiji, erected by Warrnambool skin divers in 1967. Captain Vickers’ pocket watch and Julius Gebauhr’s sheath knife are amongst the artefacts salvaged from the Fiji that are now part of the Fiji collection at Flagstaff Hill Maritime Village. The man identified in the photograph, Herbert Maxwell Morris, was the nephew of the Victorian era artist, William Morris. Herbert had sailed from England to Australia and was about 25 years old when he joined the Rocket Rescue Crew at Port Campbell. His successful rocket line firing at the Fiji wreck site was noted by author Jack Loney in one of his historic shipwreck books. Later Morris moved from his property at Baruppa to Laver’s Hill to run a more profitable enterprise. This photograph is significant as an image of a historical event, being the willingness of local volunteers to aid in the saving of lives of stranded seafarers. It gives a clear picture of the use of Rocket Rescue Equipment in shore-to-ship rescues. Flagstaff Hill’s Fiji collection is of historical significance at a State level because of its association with the wreck Fiji, which is on the Victorian Heritage Register VHR S259. The Fiji is archaeologically significant as the wreck of a typical 19th century international sailing ship with cargo. It is educationally and recreationally significant as one of Victoria's most spectacular historic shipwreck dive sites with structural features and remains of the cargo evident. It also represents aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes. The Fiji collection meets the following criteria for assessment; Importance to the course, or pattern, of Victoria’s cultural history, possession of uncommon, rare or endangered aspects of Victoria’s cultural history, and potential to yield information that will contribute to an understanding of Victoria’s cultural history. Black and white photograph. Subject is the Rocket Rescue Crew from Pt Campbell on Wreck Beach, Moonlight Head, at the wreck site of the barque 'Fiji'. September 6, 1891.warrnambool, shipwrecked coast, flagstaff hill, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, shipwrecked artefact, pocket watch, fob watch fiji, william vickers, william robe, bill robe, gebauhr, stansmore, carmody, wreck bay, moonlight head, fiji shipwreck 1891, rocket crew, port campbell rocket crew, lifesaving crew, photograph of rocket crew, herbert morris, warrnambool, shipwreck artefact, mott, william ward, rocket rescue, breeches buoy, rivernook guest house -
Eltham District Historical Society Inc
Photograph, Peter Pidgeon, Grave of Violet Feldbauer (nee Teagle), Eltham Cemetery, Victoria, 5 April 2021
FELDBAUER / TEAGLE Theodore Albert ‘Curly’ Feldbauer was born 15 October 1909 at Melbourne, the son of Theodore Henry (a naturalised German) and Jessie Margarette Feldbauer. The family moved several times during his childhood but before he was 20 he was living and working in the Eltham district. He became a well-known local sportsman. He played cricket for the Montmorency Imperials in 1929 and 1930 in the Eltham Cricket Association and excelled as a footballer and football coach. There are press references at the time to minor misdemeanours and accidents: evidently he was up for a brawl or two, but he was also able to do a recitation at a social night to launch the Eltham Girls Club in 1932. He married a local girl, Violet Amelda Teagle, in 1933, the 12th of 13 Teagle offspring who lived in Frank Street. Curly and Violet’s first child, June, was born the following year. By 1935 Curly was honorary secretary of the Research Cricket Club. He continued playing cricket regularly, mainly for Research, through till the 1940 season, after the war had begun. The girls started at Research State School in 1939 and 1940, respectively. They lived near Violet’s parents in Frank Street. Curly and Violet’s daughter, Valerie Waller recalls: “We lived near my Teagle grandparents, who had a cow. Dad took over the milking. He would rest his head against the cow and sing to her. When he left to join the army, it took weeks before she would settle down to allow anyone else to milk her.” Curly’s service record is not yet accessible from the National Archives of Australia. Valerie Waller gives us some insight into that period between Curly joining and ultimately embarking for Singapore: “Before he sailed to Singapore, Mum would travel by train, to Seymour, to spend a few hours with him. He sent her postcards and called her his “dear love”. His idea was that the sooner everyone eligible joined up, the sooner the war would be over. He had a great love for Australia.” “While he was a prisoner, Mum received a few postcards from him, not in his neat handwriting, but in block letter printing, to tell her he had received no mail or parcels from her. He must have felt we’d forgotten him, because, of course, Mum had sent lots of parcels and letters, and the Japanese hadn’t handed them on.” Theo was one of over 2,000 Allied prisoners of war held in the Sandakan POW camp in north Borneo, having been transferred there from Singapore as part of B Force. The 1,494 POWs that made up B Force were transported from Changi [Singapore] on 7 July 1942 on board the tramp ship Ubi Maru, arriving in Sandakan Harbour on 18 July 1942. Sergeant Feldbauer, aged 35, died as a prisoner of the Japanese on 27 March 1945 at Sandakan Number 1 Camp. The Japanese recorded his death from Malaria. He has no known grave, but it is believed to be at Sandakan Number 2 Camp. His death was not reported in Australia until some months later. Valerie noted: “I will never forget the sound my mother made when she received the telegram saying Dad had died months earlier, ostensibly from Malaria, but he died during the march. The sound still haunts me.” Violet’s husband Theo is recognised on the Eltham Roll of Honour, which was commissioned by the Eltham War Memorial Trust to be hung in the Baby Health Centre opened in 1952; the first of three buildings, the others being the Eltham Kindergarten and Children’s Library, that were established as the Eltham War Memorial a living memorial, with a specific focus for the welfare of children of the district. Violet and Theo’s son Albert, being the youngest child of the children of soldier fathers attending a school in the district, was given the honour of turning the first sod for the Eltham War Memorial Building, 15 July 1950. In Loving Memory of Violet Feldbauer Died 7. 11 .1982 aged 88 Loved wife of Theo (Curly) Died P.O.W. Borneo 1945 Re-united Alongside Violet lay her parents, John Thomas and Margaret TeagleBorn Digitaleltham cemetery, gravestones, charles louis layfield, edwina may layfield (nee teagle), john thomas teagle, margaret teagle, theodore feldbauer, violet feldbauer (nee teagle), annie lillian devine, frederick raymond devine, eltham war memorial, honour board, roll of honour -
Eltham District Historical Society Inc
Photograph, Main Road, Eltham, looking south from Bridge Street, c.1906-1907
Birthday greetings sent by Mary and Ada Shillinglaw from their home, 'Wattle Brae' at Eltham to their sister Carrie (Watson). Carrie was born 29 Feb 1876. Whilst the postcard was dated 1917, the actual photo is dated between 1906 and 1907. ""Wattle Brae" Eltham 28/2/17 Dear Carrie Wishing you a Bright and a happy birthday. With love from Mary & Ada" See also SEPP_0624 Looking south along Main Road from the south side of the intersection of Bridge Street with Main Road. Anne Hunniford's Post Office and Burgoyne's store on left. Miss Harriet (Minnie) Williams's Cash Drapery Mart (est. 1902 and enlarged in 1906), also known as Eltham House on the right. Harriet (Minnie) Williams was born London, 1857, the daughter of George John Williams (1812-1895) and Jane Mansfield (1812-1895). In September 1885 she was operating Williams’s Drapery Establishment in premises on Main Road owned by R. Wallis who advertised them to let in September 1885. In 1902 she opened Williams’s Cash Drapery Mart at the southwest corner of Bridge Street and Main Road (opposite the Post Office), owned by W.J. Taylor. In 1906 she bought the premises and one quarter acre of land and expanded the business with a re-opening in April 1906. Harriet was also well-known and esteemed as an active worker in Methodist circles and also Superintendent of the Sunday School. Harriet fell ill in August 1907 and died 15 August. She is buried in Eltham Cemetery with her good friend Ada Ford. Evelyn Observer and Bourke East Record (Vic. : 1902 - 1917), Friday 30 March 1906, page 5 ________________________________________ ELTHAM. (FROM OUR OWN CORRESPONDENT.) For over three years Miss Williams has carried on a drapery business in very small and inconvenient premises opposite the Eltham post-office. Recently she bought the building and a quarter-acre of land from Mr. W. J. Taylor. Thus having a free hand, she at once matured plans to enlarge and improve the premises to make them suitable for her growing business. The result being that she consulted Mr Roach, contractor, of Heidelberg, put the matter in his hands, and now he has completed in a very satisfactory manner and up-to-date style extensive improvements. A large addition, of very neat and attractive design, with three large windows, has been built right along the front of the old building, and the counters and inside fittings are very neat and convenient, harmonizing well with the attractive outside appearance. Miss Williams has now got in a large now stock of goods, and is making extensive arrangements for a “reopening week," commencing 2nd April, during which time she will make 10 per cent reduction on all cash purchases in the form of gifts of that value. Miss Williams has gone to considerable expense and liability both, in the enlargement and improvement of the premises and in purchasing additional stock. We therefore trust that the public will stand by her by heartily and en masse patronizing her re-opening effort to show their appreciation of pluck in this advance movement. Google Street View Feb 2017: https://www.google.com.au/maps/@-37.7191341,145.1462046,3a,50.5y,191.91h,88.27t/data=!3m6!1e1!3m4!1sARwwqEQfMSfH9oTWWapPgQ!2e0!7i13312!8i6656 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, 1906, 1917, ada maria chrisfield (nee shillinglaw) 1889-1974, ada maria shillinglaw (1889-1974), caroline (carrie) watson (nee shillinglaw 1876-1956), cash drapery mart, eltham, eltham hotel, main road, mary ann shillinglaw (1880-1963), shillinglaw cottage, watsons hotel, wattle brae -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Education, Pen Nibs ' R. Esternbrook Co. Ltd, 20thC
Dip pens emerged in the early 19th century, when they replaced quill pens. They were generally used prior to the development of fountain pens in the later 19th century, and are now mainly used in illustration, calligraphy, and comics. A nib pen usually consists of a metal nib with capillary channels like those of fountain pen nibs, mounted on a handle or holder, often made of wood. Other materials can be used for the holder, including bone, metal and plastic. Generally speaking, dip pens have no ink reservoir; therefore the user has to recharge the ink from an ink bowl or bottle in order to continue drawing or writing. Birmingham, England was home to many of the first dip pen manufacturers. John Mitchell pioneered mass production of steel pens in 1822; prior to that the quill pen had been the most common form of writing instrument. His brother William Mitchell later set up his own pen making business in St Paul's square. The Mitchell family is credited as being the first manufacturers to use machines to cut pen nibs, which greatly sped up the process. Germany 1842 began at the factory of Heintze & Blanckertz in Berlin By 1860 there were about 100 companies making steel nibs in Birmingham, but 12 large firms dominated the trade. Dip pens are rarely used now for regular writing, most commonly having been replaced by fountain pens, rollerball pens, or ballpoint pens. However, dip pens are still appreciated by artists, as they can make great differences between thick and thin lines, and generally write more smoothly than other types of pens. Dip pens are also preferred by calligraphers for fine writing. Richard Esterbrook was a Cornish Quaker from England who saw an opportunity in the United States to manufacture Steel Pens. In 1856 R.Esterbrook traveled to the US to set up shop as 'The Steel Pen Manufacturing Company' where Richard made these steel pens by hand using special tools and machines (mostly that Richard had to invent). In 1858 he was able to establish himself as the sole pen manufacturer in the USA and he changed the company name to 'The Esterbrook Steel Pen Mfg. Co.' The company settled down in Camden, New Jersey. Quality was a key factor in his success. His steel pens were versatile, long lasting, and came in many different styles to fit the varied writing styles of the public. Sadly, Richard Esterbrook didn't see the 'empire' his company was to become as he passed away in Atlanta on October 12th 1895 . in 1896 they started an Esterbrook branch in England to join the ranks of the other main pen manufactures in Birmingham . In 1912 the company had gotten so large that they erected a 5 story building, just to continue manufacturing pens. By 1920 the fountain pen was fast becoming more popular amongst people who were tired of 'dipping.' To meet this demand the company manufactured its first fountain pen. In 1930 the company sought less expensive means of manufacturing pens because gold and 'jewel' tips were too expensive and in this same year they began selling fountain pens in England . The Esterbrook Company began using the metal Iridium which they called 'Durachrome.' To meet the fountain pen demand the company reformed as 'The Esterbrook Hazel Pens Ltd.' In 1940 war had come to strike a blow at the Esterbrook company. On November 19th 1940 their England location was hit by an incendiary bomb destroying half of the location! To make matters worse, when putting out the fire using a human water bucket chain, someone accidentally grabbed a bucket of paraffin and set the place further ablaze. Oddly enough, the company was able to rebuild the structure during the war. However, the government had placed a stipulation that 50% of its capacity was to be used for government related purposes. In 1947 the company bought out John Mitchell and the American branch had already acquired Hazel Pen Co. The company re-formed again as 'The Esterbrook Pen Company.' This is the last company name the dip pen nibs were manufactured under. A box of Steel dipping nibs for writing pensOn Box; Photo of man / R. Esternbrook Co. / PENS / PROBATEsteel nibs, writing pens, education, schools, writing, caligraphy, artists, moorabbin, bentleigh, cheltenham, dip pens, inkwells, fountain pens, mitchell john, birmingham england, esternbrook richard, maple barbara -
Moorabbin Air Museum
Document (item) - Roland Jahne Collection - See Description for details
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Mission to Seafarers Victoria
Book - Autobiography, The Autobiography of R. H. Marten Esq. of Plaistow, Essex. (1763 - 1839)
Small size book with light blue front and back covers and a darker blue spinenon-fictionrobert humphrey marten, robert humphrey marten (1763-1839), cate lewis, seamen, welfare, napoleonic wars, london, plaistow, essex, autobiography -
Glen Eira Historical Society
Album - Album page, Labassa, 4 Manor Grove, Circa 1972
This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. HISTORY:-- From Victorian Heritage Database citation for Labassa https://vhd.heritagecouncil.vic.gov.au/places/278 as at (26/10/2020) Labassa, Caulfield is one of Melbourne's most lavishly decorated nineteenth century mansions. It resulted from the extensive remodelling in 1890, of an earlier house, known as Sylliott Hill, which was begun in 1862-3 for lawyer, Richard A. Billing. The land at the corner of Balaclava and Orrong Roads was first acquired in 1854 by William Lyall, transferred to his partner, John Mickle, in 1859, who also acquired the adjoining allotment in Balaclava Road, and the three allotments were conveyed to Billing. His first eight-roomed house was extended significantly in 1873 into a twenty-roomed house by architects Crouch and Wilson, who were possibly also responsible for the first house. This reflected Billing's success as a barrister, and he resided at this property until his death in 1882. In 1883 prominent Melbourne businessman, Alexander William Robertson, leased the Sylliott Hill property from Billing's widow, and in 1885 he purchased the adjoining allotment in Balaclava Road. He purchased the Billing's property in 1887 and renamed the 6.31 hectare property, Ontario. In 1889-90, Robertson commissioned the German born architect, John A. B. Koch, to extensively remodel the house into a thirty-five roomed mansion. The existing house was extended and altered, largely resulting in the nineteenth century mansion as it now appears. After Robertson's death in 1896, the house was tenanted until it was eventually sold to the mining millionaire, John Boyd Watson, in 1904. He renamed the property Labassa and carried out repair and re-decoration work to the house. In the early twentieth century, many large estates were subdivided into smaller allotments as the demand for land grew and it became difficult to maintain such large estates. After Watson's death in 1911, portions of the Labassa estate were offered for sale, with Mrs Watson retaining a 1.73 hectare portion containing the house. In 1913 forty-six allotments were auctioned at Labassa Estate, with the formation of Labassa Grove and Ontario Street to the east of the property. Labassa was first recorded as containing flats in 1923 and in the late 1920s, the owner, Robert Hannon, built a red brick block of flats adjacent to the house. Subdivision continued, until the National Trust of Australia (Victoria) purchased the house in 1980 and subsequently purchased adjoining sites, one to the south-east in 1984 (house demolished in 1988) and to the west in 1988. Labassa as it now stands is substantially as it appeared when Koch completed the work in 1890. The original two storey house was transformed into a French Renaissance style mansion, with the addition of a two level L-shaped arcaded verandah and two prominent terminating bays to the south and the east. The building is of unpainted cement render with dressed bluestone plinths, balustraded parapet and steep, slate covered, flat topped mansard roofs behind. A truncated conical roof is a feature of the south bay and a helmeted head is incorporated in the parapet over the east bay. The main south and east facades incorporate many cast cement details, including sculptures, elaborate cornices, swagged Corinthian columns and caryatid consoles flanking the entrance porch, as well as pink marble panels and imitation marble, or scagliola, on curved surfaces. At the rear of the building is a two storey wing and a single storey cottage, the former being connected to the main house by a tower. This section of the house was constructed in 1873. The estate at its peak included stables (1873), conservatory (probably 1890) and a tennis pavilion (probably 1890). All of these outbuildings survive, with the stables and conservatory being converted for residential use after 1922. Internally a range of decorative treatments remain from the late nineteenth century and the early twentieth century, both from the Robertson and Watson periods of occupancy. These include wallpapers, ceiling decoration, chimney pieces, mouldings, joinery and decorative glass. From Victorian Heritage Database citation for H0135 Labassa 2/2A Manor Grove Caulfield North https://vhd.heritagecouncil.vic.gov.au/places/278 as at (26/10/2020) HOW IS IT SIGNIFICANT? Labassa, Caulfield is of architectural, aesthetic and historical significance to the State of Victoria. WHY IS IT SIGNIFICANT? Labassa, Caulfield is of architectural significance as the most prominent example of a small number of houses built in Australia in the French Renaissance style. It is of further note due to the German interpretation of the style and the use of Hellenistic sources, via Germany. It is exceptional for its lavish treatment externally, including marble, scagliola, caryatids, swagged columns, mansard roofs and ornamental cresting. Labassa is of architectural significance as the most important surviving example of German architect, John Koch's domestic work. He undertook a large variety of work in Melbourne, including a number of houses, however Labassa is the most lavish example of his work. Labassa is of aesthetic significance for its outstanding assemblage of late nineteenth and early twentieth century European style interior decoration, which remain remarkably intact. These include a trompe l'oeil ceiling, painted ceilings, embossed imitation leather and other papers, chimney pieces, ceramic tilework, oak parquetry and stained glass, including a tripartite window by Ferguson and Urie, probably dating from the 1873 period. Labassa is of historical significance as an illustrative example of the wealth acquired by a number of prominent Victorian families in the second half of the 19th century. The early development of the property, Sylliott Hill, was due to the wealth acquired by Richard Billing, barrister and fifth Victorian to be appointed Queen's Counsel in 1878. The significant development in 1890 of Ontario, is illustrative of the wealth of Alexander Robertson, a partner in Cobb and Co., a director of Goldsborough Mort & Co., and a pastoral speculator. John B. Watson, whose father had acquired great wealth from the goldfields of Bendigo and subsequently invested in city and country properties, was the third resident to impact on the house, particularly the interiors. The Labassa estate is of historical significance as an illustrative example of the development that occurred in such suburbs as Caulfield in the 1880s due to the land boom, its proximity to Melbourne and the establishment of the Melbourne to Gippsland railway in 1879. It is also illustrative of an estate which succumbed to the pressures of subdividing in the early twentieth century, as properties became difficult to maintain and demand for land close to the city grew. It was typically divided into flats in the 1920s and was used as such for about sixty years. It is of historical significance for its associations with the remnants of the earlier estate which remain extant. These include the stables, conservatory (H2005) and tennis pavilion which all remain on separate sites. Also significant are the remains of early electrical wiring and fittings. Labassa was one of the first houses in Caulfield to be electrified and some of the original wires remain. [Online Data Upgrade Project 2004]Page 128 of Photograph Album with four photographs (two portrait and two landscape) of Labassa.Handwritten: "Labassa" 4 Manor Grove [top right] / Neg 232 8 Oct 1966 [under bottom right photo] / 128 [bottom right]trevor hart, bracketed eaves, slate roof, bay windows, decorative brackets, caulfield north, labassa, richard a. billing, balaclava road, orrong road, sylliott hill, william lyall, crouch and wilson, alexander william robertson, ontario, 1880's, john a. b. koch, mansion, john boyd watson, labassa grove, french renaissance style, l-shaped arcaded verandah, bluestone plinths, balustraded parapet, flat topped mansard roofs, conical roof, elaborate cornices, corinthian columns, caryatid consoles, marble panels, imitation marble, scagliola, tower, conservatory, stables, tennis pavilion, mouldings, decorative glass, caryatids, swagged columns, ornamental cresting, trompe l'oeil ceiling, embossed imitation leather, oak parquetry, stained glass, tripartite window, triple window, ferguson and urie, 1870's, flats, 1920's, electric wiring, 1860's, verandahs, curved windows, arched windows, italianate, terraces, gargoyles, ornamentation, ornate entrance, la bassa, manor grove, st kilda east, victorian, cast iron work, john koch, richard billing, architects, electrification, john mickle, land subdivision, mrs watson, labassa estate, robert hannon, national trust of australia (victoria), sculpture -
Glen Eira Historical Society
Album - Album page, Labassa, 4 Manor Grove, Circa 1972
This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. HISTORY:-- From Victorian Heritage Database citation for Labassa https://vhd.heritagecouncil.vic.gov.au/places/278 as at (26/10/2020) Labassa, Caulfield is one of Melbourne's most lavishly decorated nineteenth century mansions. It resulted from the extensive remodelling in 1890, of an earlier house, known as Sylliott Hill, which was begun in 1862-3 for lawyer, Richard A. Billing. The land at the corner of Balaclava and Orrong Roads was first acquired in 1854 by William Lyall, transferred to his partner, John Mickle, in 1859, who also acquired the adjoining allotment in Balaclava Road, and the three allotments were conveyed to Billing. His first eight-roomed house was extended significantly in 1873 into a twenty-roomed house by architects Crouch and Wilson, who were possibly also responsible for the first house. This reflected Billing's success as a barrister, and he resided at this property until his death in 1882. In 1883 prominent Melbourne businessman, Alexander William Robertson, leased the Sylliott Hill property from Billing's widow, and in 1885 he purchased the adjoining allotment in Balaclava Road. He purchased the Billing's property in 1887 and renamed the 6.31 hectare property, Ontario. In 1889-90, Robertson commissioned the German born architect, John A. B. Koch, to extensively remodel the house into a thirty-five roomed mansion. The existing house was extended and altered, largely resulting in the nineteenth century mansion as it now appears. After Robertson's death in 1896, the house was tenanted until it was eventually sold to the mining millionaire, John Boyd Watson, in 1904. He renamed the property Labassa and carried out repair and re-decoration work to the house. In the early twentieth century, many large estates were subdivided into smaller allotments as the demand for land grew and it became difficult to maintain such large estates. After Watson's death in 1911, portions of the Labassa estate were offered for sale, with Mrs Watson retaining a 1.73 hectare portion containing the house. In 1913 forty-six allotments were auctioned at Labassa Estate, with the formation of Labassa Grove and Ontario Street to the east of the property. Labassa was first recorded as containing flats in 1923 and in the late 1920s, the owner, Robert Hannon, built a red brick block of flats adjacent to the house. Subdivision continued, until the National Trust of Australia (Victoria) purchased the house in 1980 and subsequently purchased adjoining sites, one to the south-east in 1984 (house demolished in 1988) and to the west in 1988. Labassa as it now stands is substantially as it appeared when Koch completed the work in 1890. The original two storey house was transformed into a French Renaissance style mansion, with the addition of a two level L-shaped arcaded verandah and two prominent terminating bays to the south and the east. The building is of unpainted cement render with dressed bluestone plinths, balustraded parapet and steep, slate covered, flat topped mansard roofs behind. A truncated conical roof is a feature of the south bay and a helmeted head is incorporated in the parapet over the east bay. The main south and east facades incorporate many cast cement details, including sculptures, elaborate cornices, swagged Corinthian columns and caryatid consoles flanking the entrance porch, as well as pink marble panels and imitation marble, or scagliola, on curved surfaces. At the rear of the building is a two storey wing and a single storey cottage, the former being connected to the main house by a tower. This section of the house was constructed in 1873. The estate at its peak included stables (1873), conservatory (probably 1890) and a tennis pavilion (probably 1890). All of these outbuildings survive, with the stables and conservatory being converted for residential use after 1922. Internally a range of decorative treatments remain from the late nineteenth century and the early twentieth century, both from the Robertson and Watson periods of occupancy. These include wallpapers, ceiling decoration, chimney pieces, mouldings, joinery and decorative glass.From Victorian Heritage Database citation for H0135 Labassa 2/2A Manor Grove Caulfield North https://vhd.heritagecouncil.vic.gov.au/places/278 as at (26/10/2020) HOW IS IT SIGNIFICANT? Labassa, Caulfield is of architectural, aesthetic and historical significance to the State of Victoria. WHY IS IT SIGNIFICANT? Labassa, Caulfield is of architectural significance as the most prominent example of a small number of houses built in Australia in the French Renaissance style. It is of further note due to the German interpretation of the style and the use of Hellenistic sources, via Germany. It is exceptional for its lavish treatment externally, including marble, scagliola, caryatids, swagged columns, mansard roofs and ornamental cresting. Labassa is of architectural significance as the most important surviving example of German architect, John Koch's domestic work. He undertook a large variety of work in Melbourne, including a number of houses, however Labassa is the most lavish example of his work. Labassa is of aesthetic significance for its outstanding assemblage of late nineteenth and early twentieth century European style interior decoration, which remain remarkably intact. These include a trompe l'oeil ceiling, painted ceilings, embossed imitation leather and other papers, chimney pieces, ceramic tilework, oak parquetry and stained glass, including a tripartite window by Ferguson and Urie, probably dating from the 1873 period. Labassa is of historical significance as an illustrative example of the wealth acquired by a number of prominent Victorian families in the second half of the 19th century. The early development of the property, Sylliott Hill, was due to the wealth acquired by Richard Billing, barrister and fifth Victorian to be appointed Queen's Counsel in 1878. The significant development in 1890 of Ontario, is illustrative of the wealth of Alexander Robertson, a partner in Cobb and Co., a director of Goldsborough Mort & Co., and a pastoral speculator. John B. Watson, whose father had acquired great wealth from the goldfields of Bendigo and subsequently invested in city and country properties, was the third resident to impact on the house, particularly the interiors. The Labassa estate is of historical significance as an illustrative example of the development that occurred in such suburbs as Caulfield in the 1880s due to the land boom, its proximity to Melbourne and the establishment of the Melbourne to Gippsland railway in 1879. It is also illustrative of an estate which succumbed to the pressures of subdividing in the early twentieth century, as properties became difficult to maintain and demand for land close to the city grew. It was typically divided into flats in the 1920s and was used as such for about sixty years. It is of historical significance for its associations with the remnants of the earlier estate which remain extant. These include the stables, conservatory (H2005) and tennis pavilion which all remain on separate sites. Also significant are the remains of early electrical wiring and fittings. Labassa was one of the first houses in Caulfield to be electrified and some of the original wires remain. [Online Data Upgrade Project 2004]Page 129 of Photograph Album with three landscape photographs of Labassa. One of the photographs is of Labassa's drive and gates.Handwritten: 4 JUNE 1910 / SALE JUNE 28 1910 "LA BASSA' / "AUSTRALASIAN" FORMERLY "ONTARIO"/ RES OF JOHN B WATSON / 15 ACRES 3 ROADS [under bottom left photo] / 4 JUNE 1910 [under bottom right photo] / 129 [bottom left]trevor hart, bracketed eaves, intricate lacework, slate roof, bay windows, decorative brackets, caulfield north, labassa, richard a. billing, balaclava road, orrong road, sylliott hill, william lyall, crouch and wilson, alexander william robertson, ontario, 1880's, john a. b. koch, mansion, john boyd watson, labassa grove, french renaissance style, l-shaped arcaded verandah, bluestone plinths, balustraded parapet, flat topped mansard roofs, conical roof, elaborate cornices, corinthian columns, caryatid consoles, marble panels, imitation marble, scagliola, tower, conservatory, stables, tennis pavilion, mouldings, decorative glass, caryatids, swagged columns, ornamental cresting, trompe l'oeil ceiling, embossed imitation leather, oak parquetry, stained glass, tripartite window, triple window, ferguson and urie, 1870's, flats, 1920's, electric wiring, 1860's, verandahs, curved windows, arched windows, italianate, terraces, gargoyles, ornamentation, ornate entrance, la bassa, manor grove, st kilda east, gates, cast iron work, richard billing, architects, john koch, electrification, victorian style, drives, john mickle, land subdivision, mrs watson, labassa estate, robert hannon, national trust of australia (victoria), sculpture -
Bendigo Historical Society Inc.
Document - SPECIMEN COTTAGE COLLECTION: VARIOUS DOCUMENTS
Various documents in plastic folders. The topics are: 1) Photocopy of an article titled Saunders' Victoria House. Also a map of the Saunders residence in High Street. 2) Article titled What I saw in gaol July 1889 (written by Gilbert Rule). 3) Eleven pages essay: H. M. Prison Bendigo after a short history of the prison there are details of several criminal cases. Also brochure H.M. Prison Bendigo 1861-2006, Official decommissioning ceremony 5 January 2006. 4) The Temple Builders, talk by Alex H. Stone 10th May, 1998. 5) The German contribution to early Bendigo by Frank Cusack. 6) Children's games played during and prior to the great depression, Interviews conducted by James Lerk. People interviewed are: Stella Banfield, Mary Pickles, Geoff Newman, Vel Newman, Joan O'Donahue, Peg Schlotterlein, James Gallagher, Jack Larkin, Ken Maes. 7) Email from Hans Tracksdorf to Andy Walker and Ana Hilson updating on the Charlton Building at 60-62 Mundy Street, June 2015, several coloured photos attached. 8) Notes on the family of Elizabeth Ann Butler. 9) The Amy Castles story, a narrative on the life of the singer Amy Castles. Also a booklet ''I lived for the art'' The story of Amy Castles concert program. 10) Harcourt Valley Heritage & Tourist Centre ''Granite houses of Faraday and Harcourt'' by George Milford, March 2010. 11) The story of Knipe's castle and the man who built it, John Hanlon Knipe. A paper presented by Mrs. Edith Lunn 2nd April, 1987. Also some photographs of graves and various documents. 12) Report: Victorian Heritage database place details 15/07/2014 former Kahland winery and cellars. Also two coloured photographs from Tony Robinson' s walk around Bendigo, Kahland street - Lynden house built 1873 wine cellar. 13) several letters from James and Dinah Jeal to their parents detailing their travels on the goldfields dates from 1855 to 1865. 14) Photocopy of a six pages hand written letter to a Walter Edis (?) in England from a J. Wharton (?) from Woodstock on Loddon, detailing his boat trip to Melbourne and the train trip to Marong where he is working. Letter dated July 9th, 1923. 15) The history of T.C. Watts & Son, real estate agents in Bendigo by Edith Lunn. September 30th, 2000. 16) Medals created by Messrs Joseph and Co. Pall Mall, Sandhurst and Melbourne with special reference to ''Champion Medals'' created for the Bendigo Rifles and other Victorian forces. 1858 to 1885. Compiled by Angus Pearson December 2012. 17) Talk by Jim Evans at September 202 meeting of the Bendigo Historical Society. The Inimitable Charles Thatcher, colonial minstrel. 18) Six pages typewritten document titled: C.R. Thatcher, the local songster. Date and author unknown. 19) Music sheet. The Chinaman. Thatcher's colonial songs as written and sung by Charles Robert Thatcher during the goldrushes in the Shamrock hotel, Bendigo. 20) Heidi Teague young historian award two pages detailing the criteria for the award, a newspaper obituary for Heidi Teague and a twenty five pages transcribe interview of Heidi Teague, Heidi was interviewed by Ines Tyson and transcribed by Carol Woolman in 2009. 21) Photograph of Richard Bertram Taylor in military uniform, Richard was killed in action in WWI. Also a brief family history 22) Six pages typewritten letter from John Stuart, Assistant Surgeon Royal Navy to chief Secretary The Honourable C. Haines dated Sandhurst 27th May, 1857 regarding Chinese protectorate. 23) Eight pages biography with photos of Sister Clara Stewart. 24) Two pages biography on John Boyd Watson (and sons) by Rob Upson 25) History of Alick Wilkinson & other grocers 1930 onwards. Compiled by Vernon and Garran Wilkinson. -
Victorian Aboriginal Corporation for Languages
Conference proceedings, Joan Argenter, Endangered languages and linguistic rights on the margins of nations : proceedings of the Eighth FEL Conference : Barcelona (Catalonia) Spain 1-3 October 2004, 2005
Section 1: Grass-roots Efforts and Top-down Institutions Keynote Address: Leanne Hinton The Death and Rebirth of Native American Languages Patrick Marlow Bilingual Education, Legislative Intent, and Language Maintenance in Alaska Galina Dyrkheeva New Language Policy and Small Languages in Russia: the Buryat Example Zelealem Leyew The Fate of Endangered Languages in Ethiopia Gregory Hankoni Kamwendo Language Planning from Below: Chitumbuka as a Marginalised Language in Malawi John Hobson Learning to Speak Again: Towards the Provision of Appropriate Training for the Revitalization of Australian Languages in New South Wales Shelley Tulloch Grassroots Desires for Language Planning in Nunavut Amandina C�rdenas Demay Hacia la definici�n de una pol�tica del lenguaje & Alejandra Arellano Mart�nez expl�cita en M�xico Elena Benedicto, G. McLean, Linguistic Rights in the Nicaraguan Atlantic Coast: Grupo de Ling�istas Ind�genas Mayangna Actions on the Ground within the Legislative Framework of the Estatuto de Autonom�a Bartomeu Meli� Las lenguas ind�genas en el Paraguay. Una visi�n desde el Censo 2002 Monica Ward Building from the Bottom-up: Linguistic Rights for Extremely Endangered Languages Marta Moskal Language Policy and Protection of Endangered Languages in Poland Sue Wright What is a language? Some difficulties inherent in language rights Joan Ramon Sol� Obstacles in the Way of the Recovery of Catalan Section 2: The Global vs. the Local in Linguistic Rights Keynote Address: Patxi Goenaga Fronteras que dividen y fronteras que separan. Una mirada a Europa desde el Euskara Yun-Hsuan Kuo Languages, Identity, and Linguistic Rights in Taiwan Estibaliz Amorrortu, Andoni Barre�a, What Do Linguistic Communities Think about the Esti Izagirre, Itziar Idiazabal, Bel�n Uranga Official Recognition of their Languages? Alok Kumar Das Linguistic Practices and Not Just Linguistic Rights: Endangered Languages in New Europe Section 3: Languages crossing the Borders Keynote Address: Tjeerd de Graaf The Status of Endangered Languages in the Border Areas of Japan and Russia Mariana Bara Arm�n endangered language Ver�nica Grondona Language Policy, Linguistic Rights and Language Maintenance in Argentina Grup d?Estudi de Lleng�es Amena�ades Linguistic diversity in Catalonia: towards a model of linguistic revitalization Nataliya Belitser Endangered Languages in Crimea/Ukraine: The Cases of Crimean Tatar, Karait, and Krymchak Ivelina Kazakova & Maria Miteva The Future of Bulgarian: The Road to Extinction or Paradise Regained Luke O?Callaghan War of Words: Language Policy in Post Independence Kazakhstan Eden Naby From Lingua Franca to Endangered Language: The Legal Aspects of the Preservation of Aramaic in Iraq Poster presentations Akim Elnazarov Endangered languages and Education. A Case of Badakhshan Province of Tajikistan Arnfinn Muruvik Vonen & Oddvar Hjulstad Linguistic Rights Paving the Way Towards Language Endangerment? The Case of Norwegian Sign Language Eva Savelsberg Kurdish (Kurmanc�) as Minority Language in the Federal Republic of Germany Jos� Antonio Flores Farf�n Cultural and Linguistic Revitalization, Maintenance and Development in Mexico Mary Jane Norris Assessing the Status, Use and Accessibility of Canada?s Aboriginal Languages within Communities and Cities: Some Proposed Indicators Michael Prosser van der Riet Promotion of Minority Language Scripts in Southwest China. A Relative Success or Complete Failure? Mikael Grut The Endangered Celtic Languages: A Wake-up Call Nariyo Kono Developing Partnerships Between Universities and Language Communities: Top-down and Bottom-up Integration Richard J. Hawkins Probit Modeling Language Attrition Rudy Osiel Camposeco El idioma maya Popti? y la Declaraci�n Universal de los Derechos Ling��sticos Victorio N. Sugbo The literary Response: Claiming Rights in Three Philippin Languages Ya-ling Chang Language Policies in an Aboriginal Primary School in Taiwanmaps, tables, graphsnsw, endangered languages, linguistic rights -
Melbourne Tram Museum
Letter - Correspondence, Melbourne & Metropolitan Tramways Board (MMTB), "Trolley Buses", 1922-36
File containing correspondence between the MMTB Chief Engineer Mr. Strickland and various companies, including Railless Ltd, Australian General Electric, English Electric / Dick Kerr and its UK consultants Heap and Digby (H&D) between the period August 1922 and August 1936. Includes drawings, technical specifications, some of which are duplicated in the Reg Item 535 file. For a listing of the contents of this file and of Reg Item 535, see Related Documents - htd535-536list.pdf Item 536 - Trolley Buses Listed from top of file, in order found. Letters generally to/from MMTB Chief Engineer. Date Type Notes 7/8/1936 Letter from TE Barnes – re Bremen Germany Steam Omnibus. Three pages. On foolscap paper – rest quarto. Has been damaged. 3/2/1926 Letter from Bruce Henderson re transport in the Glen Eira Rd area – poor private bus. 25/10/1925 Letter to G. Higgins, regarding a paper he had presented and printed in Australian Municipal Journal about transport around Melbourne, predicted the demise of trams, trains. Notes Spencer St bridge. Copy of paper is pinned with letters. 28/819/22 Copy of letter to H&D from AEC (see above) Includes the Mexborough test gradient drawing. Undated Pamphlet from Railless Limited about Birmingham’s new trolley buses. 16/3/1923 Extract from Electric Railway and Tramway Journal – wages of trolleybus drivers not getting paid extra in Bradford. Two copies pinned together. 9/4/1923 Letter from H&D re pamphlet exchange You should have had it! 23/2/1923 Letter to H&D asking for information. Has a note re the Board’s attitude towards motor buses. 28/8/1922 to 24/23 Series of letters pinned together with L. de Koenneritz regard trolley buses and Paris. Noted that the MMTB did not have the legislative power to run trolley buses. 15/2/1922 to 10/4/23 Series of letters pinned together with the Aust. GE regarding trolley buses and references to their operation in journals. 10/1/1923 Letter from H&D re request for information on driving gear of Railless Ltd. vehicles 23/2/1923 Letter to H&D re above. 23/2/1923 Sheet of paper on “Steads Review” paper – pamphlet not yet to hand. 8/11/1922 to 10/1/1923 Series of letters with H&D pinned together asking for Railless driving gear – reluctant to provide. 26/9/1922 Letter from H&D, with copy of letter from English Electric enclosing materials regarding Trolley Bus equipment. Note much of this material is the same as that in Reg Item 535 contained within the green cloth tape. Performance curves for DK 26B motor Blueprint – 4449 – outline of controller DK, Type D, form B. Specification for DK 26B trolley motor. Blueprint – drawing 2810 – DK 26 Motor Blueprint – No. 1312D – controller diagram Pamphlet – EE – tramcar Type D automatic circuit Breakers. Publication No. 230, dated 9/1920. Ditto, Form A, drawings No 3565, 1/1/19. Performance curves for DK85A motor Blueprint – P2002M034 – DK85 Motor. EE specification for Traction Motor DK85 Modified from a tram motor. Blueprint – EE drawing – P2002M036 – DK85 motor with ball bearings. EE blueprint P2102F021, traction control wiring for form D controller. EE blueprint P2103F033 – outline of controller type SE1, form C and D. EE blueprint P2102Z011 – wiring diagram for type SE1 form controller. EE blueprint – P2102F025 – diagram of connections (wiring) for Type SE1, form D controller.trams, tramways, trolley buses, melbourne, mmtb, aec, heap and digby, english electric, railless, dick kerr, general electric -
Flagstaff Hill Maritime Museum and Village
Machine - Diving Compressor, Siebe Gorman & Co. Ltd, 1880-1890
This compressor was part of the E.G. Ward Collection. It is connected to the diving suit and boots also in our collection. Siebe Gorman & Company Ltd was a British company that developed diving equipment and breathing equipment and worked on commercial diving and marine salvage projects. The company advertised itself as 'Submarine Engineers'. It was founded by Augustus Siebe, a German-born British engineer chiefly known for his contributions to diving equipment. Siebe Gorman traded as an engineering firm for over 180 years from 1819 to 1999. The early success of the business was due to its founder, the Prussian immigrant Christian 'Augustus' Siebe (1788-1872). For business reasons, he applied for and was granted British citizenship in 1856. He was a gifted engineer who was able to translate theoretical problems into practical, working products. During the industrial Victorian period, the business traded as 'A. Siebe' at 145 High Street Holborn London, but in 1828 new premises were acquired at 5 Denmark Street, Soho. The family firm produced a wide range of manufactured goods including paper-making machinery, measuring machinery, water-pumps, refrigeration equipment and diving apparatus. Augustus Siebe specialised in submarine engineering early on and the company gained a reputation for the manufacture of safe, reliable diving apparatus. Augustus Siebe is best remembered for the development and manufacture of the ‘closed’ Diving Dress based on the ideas of Charles and John Deane, George Edwards and Charles Pasley. Apart from some small modifications to valves and diver communications, the basic 12 bolt ‘closed’ diving dress remained relatively unchanged after the 1870s. Later company successes were also based on innovation, with new products that could be successfully developed and manufactured to high standards. This was largely attributed to the inventive nature, foresight, engineering and entrepreneurial skills of Robert Henry Davis (1870-1965). In 1882, RH Davis joined the company of 'Siebe & Gorman' as a young 11-year-old office boy and he was to remain with the company until he died in 1965. Augustus Siebe retired in 1869 and handed over the company to a new partnership of Henry H. Siebe (1830-1885) and William A. O'Gorman (1834-1904). The new firm traded as 'Siebe & Gorman' (1870-1879) from premises in and around Mason Street, Westminster Bridge Road, Lambeth, London. The two partners soon recognised the potential of R.H. Davis and in 1894, aged 24, he became General Manager of Siebe & Gorman. Davis increasingly ran the company until the surviving partner (W.A. Gorman) died in 1904. The firm was disposed of to the Vickers (armaments) family and a new company 'Siebe Gorman & Co. Ltd.' (1905-1998) was formed. Under the chairmanship of Albert Vickers, R.H. Davis was kept on as Managing Director, and the company forged ahead. However, after WW1, the Great Depression caused manufacturing output and share prices to slump. In 1924 Robert Davis made a deal with the Vickers Board and acquired control of the company through majority shares. Under his leadership, the Siebe Gorman Company flourished and within time, four of his sons also joined the firm. The company gained a worldwide reputation for the manufacture of diving apparatus, decompression and observation chambers, and safety breathing apparatus of all types for use on the land, in the air and under the sea (including mine rescue, tunneling, aircraft, diving, submarine escape and in other hazardous environments). Close research and development links with the MOD (especially the Admiralty), also provided a lucrative outlet for the company products. In 1932, Robert Davis was knighted by King George V, principally for his invention of the ‘Davis Submerged Escape Apparatus’ (D.S.E.A.). Siebe Gorman essentially remained a family firm from the beginning (under A Siebe) until it became a public company for the first time in 1952. However, following WW2, British manufacturing stagnated through stifled investment and post-war austerity, and there was little innovation. Siebe Gorman fortunes began to decline as an ageing Sir Robert Davis failed to invest, or change the company business and management practices. In 1959, Siebe Gorman was acquired by the “Fairy Group” and the ailing Sir Robert was made Life President. Consequently, nothing changed and the slow decline continued until Sir Robert's death in March 1965. Around 1960, Siebe Gorman acquired the diving apparatus manufacturer C E Heinke, and for a brief period, it manufactured some diving equipment under the combined name of Siebe Heinke. Around 1964, Mr. E. 'Barry' Stephens was appointed as the new Managing Director to modernise Siebe Gorman. Changes were made, including a move to a new factory in Wales in 1975. The new company concentrated on fire fighting breathing apparatus and escape equipment, and the move coincided with the loss of many of the older, traditional craft skills. Between 1985 and 1998, Siebe expanded through acquisitions, and several other companies were acquired. The Siebe Gorman (diving apparatus) company has therefore traded as A. Siebe (1819-1870); Siebe & Gorman (1870-1879); Siebe Gorman & Co (1880-1904); Siebe Gorman & Co. Ltd (1905-1998).The compressor is a very significant item as it gives a snapshot into marine history and the development of diving equipment generally especially that used for salvage operations before and during WW2. Siebe & Gorman the company that made the equipment was a leading inventor, developer and innovator of marine equipment with its early helmets and other items eagerly sought after today for collections around the world. The items in the Flagstaff Hill collection give us an insight as to how divers operated and the dangers they faced doing a very necessary and dangerous job during the early days of marine exploration.A single cylinder divers' pump by Siebe Gorman & Co Ltd, London, eccentric hand cranked in brass mounted mahogany case with instructions to the underside of the lid, brass covered pressure gauge and air outlet, brass makers plaque to the front, water inlet and outlet to the rear, green painted lifting rings. Machinery has some blue painted areas on the metal.Plate on the back 'WATER SUPPLY" "WATER OVERFLOW" "WATER DRAIN-IN" Pressure gauge dial "BOURDON'S PRESSURE GAUGE" STEBE GORMAN & CO. LONDON", "LBS PRESSURE" "FEET OF SALT WATER" Plate on the front " PATENT, Siebe Gorman & Co Ltd Submarine Engineers" below emblem (Lion, Crown, Horse)flagstaff hill, warrnambool, flagstaff-hill, maritime-museum, diving compressor, london, siebe gorman & co ltd, marine technology, life saving, deep sea diving, maritime museum, maritime village, manine history -
Flagstaff Hill Maritime Museum and Village
Functional object - Diving Suit, boots and weight, 1900
This diving suit with helmet, boots and weight is part of the E.G.Ward collection, along with the diving compressor and a photograph of a diver in this equipment. Siebe Gorman & Company Ltd was a British company that developed diving equipment and breathing equipment and worked on commercial diving and marine salvage projects. The company advertised itself as 'Submarine Engineers'. It was founded by Augustus Siebe, a German-born British engineer chiefly known for his contributions to diving equipment. Siebe Gorman traded as an engineering firm for over 180 years from 1819 to 1999. The early success of the business was due to its founder, the Prussian immigrant Christian 'Augustus' Siebe (1788-1872). For business reasons, he applied for and was granted British citizenship in 1856. He was a gifted engineer who was able to translate theoretical problems into practical, working products. During the industrial Victorian period, the business traded as 'A. Siebe' at 145 High Street Holborn London, but in 1828 new premises were acquired at 5 Denmark Street, Soho. The family firm produced a wide range of manufactured goods including paper-making machinery, measuring machinery, water pumps, refrigeration equipment and diving apparatus. Augustus Siebe specialised in submarine engineering early on and the company gained a reputation for the manufacture of safe, reliable diving apparatus. Augustus Siebe is best remembered for the development and manufacture of the ‘closed’ Diving Dress based on the ideas of Charles and John Deane, George Edwards and Charles Pasley. Apart from some small modifications to valves and diver communications, the basic 12-bolt ‘closed’ diving dress remained relatively unchanged after the 1870s. Later company successes were also based on innovation, with new products that could be successfully developed and manufactured to high standards. This was largely attributed to the inventive nature, foresight, engineering and entrepreneurial skills of Robert Henry Davis (1870-1965). In 1882, RH Davis joined the company of 'Siebe & Gorman' as a young 11-year-old office boy and he was to remain with the company until he died in 1965. Augustus Siebe retired in 1869 and handed over the company to a new partnership of Henry H. Siebe (1830-1885) and William A. O'Gorman (1834-1904). The new firm traded as 'Siebe & Gorman' (1870-1879) from premises in and around Mason Street, Westminster Bridge Road, Lambeth, London. The two partners soon recognised the potential of R.H. Davis and in 1894, aged 24, he became General Manager of Siebe & Gorman. Davis increasingly ran the company until the surviving partner (W.A. Gorman) died in 1904. The firm was disposed of to the Vickers (armaments) family and a new company 'Siebe Gorman & Co. Ltd.' (1905-1998) was formed. Under the chairmanship of Albert Vickers, R.H. Davis was kept on as Managing Director, and the company forged ahead. However, after WW1, the Great Depression caused manufacturing output and share prices to slump. In 1924 Robert Davis made a deal with the Vickers Board and acquired control of the company through majority shares. Under his leadership, the Siebe Gorman Company flourished and within time, four of his sons also joined the firm. The company gained a worldwide reputation for the manufacture of diving apparatus, decompression and observation chambers, and safety breathing apparatus of all types for use on the land, in the air and under the sea (including mine rescue, tunnelling, aircraft, diving, submarine escape and in other hazardous environments). Close research and development links with the MOD (especially the Admiralty), also provided a lucrative outlet for the company products. In 1932, Robert Davis was knighted by King George V, principally for his invention of the ‘Davis Submerged Escape Apparatus’ (D.S.E.A.). Siebe Gorman essentially remained a family firm from the beginning (under A.Siebe) until it became a public company for the first time in 1952. However, following WW2, British manufacturing stagnated through stifled investment and post-war austerity, and there was little innovation. Siebe Gorman fortunes began to decline as an ageing Sir Robert Davis failed to invest, or change the company business and management practices. In 1959, Siebe Gorman was acquired by the “Fairy Group” and the ailing Sir Robert was made Life President. Consequently, nothing changed and the slow decline continued until Sir Robert's death in March 1965. Around 1960, Siebe Gorman acquired the diving apparatus manufacturer C E Heinke, and for a brief period, it manufactured some diving equipment under the combined name of Siebe Heinke. Around 1964, Mr E. 'Barry' Stephens was appointed as the new Managing Director to modernise Siebe Gorman. Changes were made, including a move to a new factory in Wales in 1975. The new company concentrated on fire-fighting breathing apparatus and escape equipment, and the move coincided with the loss of many of the older, traditional craft skills. Between 1985 and 1998, Siebe expanded through acquisitions, and several other companies were acquired. The Siebe Gorman (diving apparatus) company has therefore traded as A. Siebe (1819-1870); Siebe & Gorman (1870-1879); Siebe Gorman & Co (1880-1904); Siebe Gorman & Co. Ltd (1905-1998).The items are very significant as a snapshot into marine history and the development of diving equipment generally especially that used for salvage operations before and during WW2. The company that made the equipment was a leading inventor,developer and innovator of marine equipment with its early helmets and other items eagerly sought after today for collections around the world. The items in the Flagstaff Hill collection give us an insight as to how divers operated and the dangers they faced doing a very necessary and dangerous job.Diving suit including helmet, boots and a weight. Diving suit is made of canvas with knitted cuffs. The helmet is metal. The boots have a thick sole and thick leather upper that is held on with leather straps and buckles. The toe of the boot is heavy metal. The weight is worn next to the trunk of the diver and it has an inscription to mark the front. It is worn with straps and buckles holding it in place. Royal Navy Admiralty Pattern 6 bolt No 3 light Siebe Gorman light diving helmet circa 1960 used by the Royal Navy before and after World War 2"Siebe Gorman & Co Ltd Marine Engineers London. Patent" with "E G Ward" on front and back plate. On weight "FRONT"flagstaff hill, warrnambool, diving suit, siebe gorman and co ltd., siebe gorman and co ltd marine engineers london, marine engineers, diving helmet, diving boots, diving weight, marine diving, maritimemuseum, maritime village, maritime history, marine technology, life saving, deep sea diving -
Eltham District Historical Society Inc
Photograph, Ellen Sweeney in Mrs Cox's garden, Eltham, Easter Sunday, April 16, 1922
Jackson St Casterton Aug 18. 23 Dear Girls, I was very pleased to receive your nice letters with news of your doings in Eltham. You put Casterton S.A., so your letters were a long time reaching me. As I hope to see you all very soon I shall just send a p.c. of me taken in Mrs Cox’s garden Easter Sunday 12 months ago. The river here has been in flood twice and people who lived along its banks had to move. I believe the Eltham PS is greatly improved. Betty says I shall get lost there now. Casterton is on the Glenelg R. in Vic so you will remember that next time. Best wishes to you all. From E. Hooley Ellen Sweeney was a former student of Eltham State School in the 1880s, She became a teacher at the school from 1891-1898. She returned in 1915 until her marriage to William Hooley of Casterton at St Marys, Eltham, Tuesday, April 24, 1923. Wedding at Eltham. (1923, April 27). Advertiser (Hurstbridge, Vic. : 1922 - 1939), p. 2 (AFTERNOON). Retrieved February 14, 2023, from http://nla.gov.au/nla.news-article56655781 Wedding at Eltham PRESENTATIONS TO MISS SWEENEY. On Tuesday last. Miss Sweeney (a member of an old and respected Eltham family), who recently resigned her position as assistant teacher at the Eltham State School to marry Mr. W. Hooley, of Casterton, was presented with a handsome gold wristlet watch. The headmaster, Mr. Dudtield, in making the presentation on behalf of the school committee, parents, and children paid a high tribute to the excellent work done by Miss Sweeney during her connection with the school, and in asking her acceptance of the present, expressed on behalf of all the fullest measure of happiness to Miss Sweeney in her married life. On Thursday evening, a social evening was tendered to Miss Sweeney, at Mrs. T. Jewell's residence Main street, by the choir and parishioners of St. Mary's Church, Eltham, where Miss Sweeney has for some years acted as choir mistress. Mr. Harold Cox, in handing her a handsome gold and oak silver salad bowl and service, expressed the heartiest good wishes to one who had not only labored so strenuously in organising the choir, but had been always foremost in promoting church and public movements in the community. Congratulatory addresses were also contributed by the Rev. F. Norris and Mr. W. P. McMahon. Miss Sweeney sincerely thanked the donors for their beautiful present, and the speakers for the many kind things said in her regard. She felt very much severing her connection with Eltham. She would carry away many happy-. recollections of her old home, and the kindly people of the town. She hoped after some years to return to Eltham. permanently. (Applause.) On Saturday morning. the marriage ceremony was performed at St. Mary's in the presence of a large number of friends. During the nuptial Mass, celebrated by the Rev. F. Parker. (North Fitzroy), assisted-by the Rev. F. Morris .(Eltham). The choral part of the service including the Wedding March, was very efficiently rendered by the choir. MRS HOOLEY (1940, May 10).Eltham and Whittlesea Shires Advertiser (Vic. : 1940 - 1942), p. 4. Retrieved February 14, 2023, from http://nla.gov.au/nla.news-article57491650 MRS HOOLEY Sincere regret was felt, in Eltham and district at the death of Mrs. W. Hooley (nee Miss Ellen Sweeney) a very dear and capable teacher at State Schools in Eltham and other districts, including the Western District. The deceased was one of Nature's ladies, and was a native of Eltham having been born in the historic home, Culla Hill, one of the first settlements on the Yarra. She passed peacefully away on Anzac Day, April 26. The. funeral was the largest and most impressive ever seen in Eltham, and left St. Mary's Church after a requiem mass conducted by Rev. Father Morrison and Father Hollis. The pall bearers were mostly girlhood friends. Deceased leaves a husband, two brothers, Mr. Tom Sweeney of Kew, and Mr. Frank Sweeney of Western Australia and sisters (Mrs. Lane, of W.A., and Mrs. M. Carringham, of Dalton St, Eltham.) 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, 1922, 1923, ellen hooley (nee sweeney), ellen sweeney, eltham, mrs cox -
Flagstaff Hill Maritime Museum and Village
Equipment - Diving compressor and helmet, 1944
Siebe Gorman & Company Ltd was a British company that developed diving equipment and breathing equipment and worked on commercial diving and marine salvage projects. The company advertised itself as 'Submarine Engineers'. It was founded by Augustus Siebe, a German-born British engineer chiefly known for his contributions to diving equipment. Siebe Gorman traded as an engineering firm for over 180 years from 1819 to 1999. The early success of the business was due to its founder, the Prussian immigrant Christian 'Augustus' Siebe (1788-1872). For business reasons, he applied for and was granted British citizenship in 1856. He was a gifted engineer who was able to translate theoretical problems into practical, working products. During the industrial Victorian period, the business traded as 'A. Siebe' at 145 High Street Holborn London, but in 1828 new premises were acquired at 5 Denmark Street, Soho. The family firm produced a wide range of manufactured goods including paper-making machinery, measuring machinery, water pumps, refrigeration equipment, and diving apparatus. Augustus Siebe specialised in submarine engineering early on and the company gained a reputation for the manufacture of safe, reliable diving apparatus. Augustus Siebe is best remembered for the development and manufacture of the ‘closed’ Diving Dress based on the ideas of Charles and John Deane, George Edwards, and Charles Pasley. Apart from some small modifications to valves and diver communications, the basic 12 bolt ‘closed’ diving dress remained relatively unchanged after the 1870s. Later company successes were also based on innovation, with new products that could be successfully developed and manufactured to high standards. This was largely attributed to the inventive nature, foresight, engineering, and entrepreneurial skills of Robert Henry Davis (1870-1965). In 1882, RH Davis joined the company of 'Siebe & Gorman' as a young 11-year-old office boy and he was to remain with the company until he died in 1965. Augustus Siebe retired in 1869 and handed over the company to a new partnership of Henry H. Siebe (1830-1885) and William A. O'Gorman (1834-1904). The new firm traded as 'Siebe & Gorman' (1870-1879) from premises in and around Mason Street, Westminster Bridge Road, Lambeth, London. The two partners soon recognised the potential of R.H. Davis and in 1894, aged 24, he became General Manager of Siebe & Gorman. Davis increasingly ran the company until the surviving partner (W.A. Gorman) died in 1904. The firm was disposed of to the Vickers (armaments) family and a new company 'Siebe Gorman & Co. Ltd.' (1905-1998) was formed. Under the chairmanship of Albert Vickers, R.H. Davis was kept on as Managing Director, and the company forged ahead. However, after WW1, the Great Depression caused manufacturing output and share prices to slump. In 1924 Robert Davis made a deal with the Vickers Board and acquired control of the company through majority shares. Under his leadership, the Siebe Gorman Company flourished and within time, four of his sons also joined the firm. The company gained a worldwide reputation for the manufacture of diving apparatus, decompression and observation chambers, and safety breathing apparatus of all types for use on the land, in the air, and under the sea (including mine rescue, tunneling, aircraft, diving, submarine escape and in other hazardous environments). Close research and development links with the MOD (especially the Admiralty), also provided a lucrative outlet for the company products. In 1932, Robert Davis was knighted by King George V, principally for his invention of the ‘Davis Submerged Escape Apparatus’ (D.S.E.A.). Siebe Gorman essentially remained a family firm from the beginning (under A.Siebe) until it became a public company for the first time in 1952. However, following WW2, British manufacturing stagnated through stifled investment and post-war austerity, and there was little innovation. Siebe Gorman's fortunes began to decline as an aging Sir Robert Davis failed to invest, or change the company's business and management practices. In 1959, Siebe Gorman was acquired by the “Fairy Group” and the ailing Sir Robert was made Life President. Consequently, nothing changed and the slow decline continued until Sir Robert's death in March 1965. Around 1960, Siebe Gorman acquired the diving apparatus manufacturer C E Heinke, and for a brief period, it manufactured some diving equipment under the combined name of Siebe Heinke. Around 1964, Mr E. 'Barry' Stephens was appointed as the new Managing Director to modernise Siebe Gorman. Changes were made, including a move to a new factory in Wales in 1975. The new company concentrated on fire-fighting breathing apparatus and escape equipment, and the move coincided with the loss of many of the older, traditional craft skills. Between 1985 and 1998, Siebe expanded through acquisitions, and several other companies were acquired. The Siebe Gorman (diving apparatus) company has therefore traded as A. Siebe (1819-1870); Siebe & Gorman (1870-1879); Siebe Gorman & Co (1880-1904); Siebe Gorman & Co. Ltd (1905-1998). (For information regards the diving helmet & Frank King see Notes Section at the end of this document)The items are very significant as a snapshot into marine history and the development of diving equipment generally especially that used for salvage operations before and during WW2. The company that made the equipment was a leading inventor,developer and innovator of marine equipment with its early helmets and other items eagerly sought after today for collections around the world. The items in the Flagstaff Hill collection give us an insight as to how divers operated and the dangers they faced doing a very necessary and dangerous job. Frank Kings' diving helmet and compressor (communication pipe stored separately). Compressor is hand cranked. US Navy diving helmet, Mark V. Two maker's plates attached. Made in 1944.On rear "WATER SUPPLY" On front 'PATENT" " Logo: Images (Lion, Crown, Horse, Shield within an oval) "SIEBE, GORMAN & Co. Ltd. SUBMARINE ENGINEERS, LONDON.flagstaff hill, warrnambool, maritime museum, great ocean road, us navy diving helmet, commonwealth government salvage, diving helmet, marine salvage, frank king, diver, siebe. gorman & co ltd, submarine equipment, diving equipment, communication under water, hand cranked, diving compressor -
Plutarch Project
Film screening Log Book, Log Book, Collins late 1950's
Yiannoudes Family Film Memorabilia It is normally a time consuming and difficult task to accurately assess a collection’s significance to the primary criteria, however in the case of the “Yiannoudes Family Film Memorabilia” we have no hesitation of its high significance about its historic, social, rarity, interpretive, cultural and provenance to Australia, including the country side where most of this collection memorabilia visited. From January 1959 and until 1982, “Cosmopolitan Motion Pictures”, owned by Mr Peter Yannoudes (Παναγιώτης Γιαννούδης) and Mr Stathis Raftopoulos (Στάθης Ραφτόπουλος) travelled around Australia to entertain the Greek, Turkish, Indian and Yugoslav speaking population of Australia and provide a significant cinema culture. They travelled as far as Perth in WA, Adelaide in SA, Tasmania, Darwin in Nt, Canberra in ACT and Sydney and NSW. However they found themselves also in places like Berri and Renmark in NSW, where concentrations of migrants lived and thrived during the period. Initially they were travelling by train, carrying all their equipment by hand and placing them in boxes and suitcases. However after 1962 when they acquired their first automobile, travelling became less of a burden, nevertheless cumbersome and laborious. They carried with them initially two portable projectors (second one as a backup) and at times travelled with a third in order to ensure that technology will not be letting them down at the time of film projection. At times the films were projected onto a white sheet of cloth because there was no proper screen to project it on at the venue they were using. Mr P. Yiannoudes has also published a book in October 2010, titled “Greek Cinema Across Australia – Behind the Scenes”. The book was published in two languages, English and in Greek. Details about the launch can be found on the Diasporic Literature Spot website at this address (in the Greek language) http://diasporic.org/ellinika/biblia/greek-films-in-australia/. His book is devoted to those with whom he co-operated in order to bring for the first time Greek language films into Australia. Their names are: Stathis Raftopoulos, Andreas Papadopoulos, Andreas Katopodis, Theodoros Kanellopoulos, Michael Ioannou, Fotis Hatzipavlides, Kostas Vrahnas, Evaggelos Terpenos, Dionysis Lourantos, Dimitris Georgiou, Vasilis Florias and Jim Gragie. All businessmen with the right entrepreneurial spirit to be the first and to make their mark in the making of cultural Australia. Mr P. Yiannoudes a Cypriot by descent born in the town of Vouni, a village in the area of Lemesos. In Lemesos he learned the first few things about cinema which would help him in all his later life. He migrated to Australia in 1956 has been a prominent member of the Greek & Cypriot Communities in Melbourne for many decades. He has been President of the Cypriot Community, President of Federation of Cypriot Communities in Australia (for 18 years), President of SEKA (for 26 years) and highly regarded member of the Greek-Cypriots Diaspora since he also has been Vice-President of the Global Federation of Cypriots of Diaspora for 18 years. Mr P. Yiannoudes is now working on creating a small museum of these pieces in the back of the Westgarth Theatre with the help of the Plutarch Project and …. In this collection numbering hundreds of items, we will try and capture some of the glory that was the Greek film industry in Australia for 23 years between 1959 and 1982. “Cosmopolitan Motion Pictures” also owned a large number of cinemas in Melbourne, the National Theatre in Richmond, the Westgarth Theatre in Northcote (which is still owned by the Yiannoudes family today), Sun Theatre in Yarraville, Kinema in Albert Park, Empire Theatre in Brunswick, Paramount Theatre in Oakleigh, Globe Theatre in Richmond, Galaxy Theatre in Brunswick and the Cosmopolitan Theatre in Brusnwick. At the same time they were hiring other theatres for film projections. They were the Astor Theatre in St. Kilda, Victoria Theatre in Richmond, Sunshine Theatre in Sunshine. Apart from Melbourne they were using the Pantheon Theatre in Adelaide, the Norwood Town Hall in Adelaide, the Shepparton Town Hall in Shepparton, the Premier Theatre in Perth, the Rivoli Theatre in Berri and the Renmark Theatre in Renmark. The number of films shown around Australia were over 1500 in total whilst about 1218 of them were in the Greek language. Other languages shown were in Turkish (about 150 films), Yugoslavian (about 100 films), English, French, German, Swedish, Dutch language films. “Cosmopolitan Motion Pictures” was the first company to bring Swedish and Dutch films to Australia. They also showed Martial Arts films for the first time in Australia in 1975 at the Galaxy Theatre in Melbourne. However one of the most significant pieces that tell the story with places and dates is the Show Logbook. The Show Logbook has a large number of stories to tell. It is still intact and in fair condition after all these years of travelling around Australia. It is categorised with an alphabetic index on the right by film title. Greek, Indian, Turkish and Yugoslav language film titles adorn its pages alongside the place where they were first shown, the towns and cities they visited and the dates for each one. It is an extremely significant part of history of the settlement of migrants in Australia. This Log Book is of Primary Significance to the "Cosmopolitan Motion Pictures" and the Yiannoudes family film memorabilia collection. It has a Historic, Social, Provenance and Rarity significance for the settlement of migrants in Australia and the entertainment industry.This is the Log Book, manually updated and used by "Cosmopolitan Motion Pictures" for films shown in different parts of AustraliaCollins Stock Records Booklogbook, films, shown, cultural, language, greek, australia, γιαννούδης, κατάσταση, yiannoudes -
Red Cliffs Military Museum
Letter, Letter from 815 Cpl William Carroll to his Aunt, 31/12/1916 (exact)
This is part of a collection belonging to Sgt, William E. CarrollThis is a copy of a letter written by 815 Cpl William Carroll to his Aunt while he was hospitalised in Cairo. It is written on YMCA letterhead.Top Left hand Corner: Patron/ YMCA National Council/ H.M. The King/ Patron /Military Camp Dept./ H.R.H. Duke of Connaught. Centre top: For God, For King & For Country/ YMCA Logo/ with the/ Mediterranean Expeditionary Force. (written through the logo)/ Right hand top corner: Committee/ for Egypt/and/the Near East./ Chairman/ H.E. Sir Henry McMahon Lower down page: Reply to No. 815 Coy D Bat 21st/ Dec 31st '16/ Stationed at/ Dear Aunt,/ I am at present a patient in the (??)/ General Hospital, Egypt, back again at Cairo. I/have a slight abcess on my lip and my neck was a/ bit swollen, but both are almost right now./ It's quite a relief to be away from the shot &/ shell, for a spell & to enjoy comfort and sunshine/ again after four months hardships in the trenches./ During the latter part of my stay at ANZAC, it/ was intensely cold, snow & ice galore & freezing/ cold winds. It's five days since I left the pen/insular; we were taken off in a small steamer/ to Lemnos & put aboard a fine hospital ship./ We arrived at Alexandria yesterday morning/ & came on here last night. My lip has been/ lanced & the swelling is disappearing fast./ I had many miraculuous escapes in the trench./ Once whilst observing over the sandbags a barage/ ventilated my hat. On another occasion when/ I was stiring the porridge a piece of shrapnel/ knocked over our breakfast into the fire. So I have/ a lot to be thankful for to be sure./Many of my comrades have gone and are buried in the/ churchyard in Shrapnell gully & more are away sick/ and wounded. I intended to cable to you for some money but I think I'll be able to make do/ of it, & we have all our wants attended to here./ Do you remembr Willy O'Leary of Mansfield?- He/ was killed near us in an attack some time ago./ Young Sgt. Roberts, my chum of Dookie & Broadmeadows/ was also sniped a few days before I left./ The war doesn't appear to be going too well, but/ I am sure time will tell, & we will eventually/ give the Germans a good belting. Just address/ my letters as usual, as I don't think I'll be here/ for long & if I am my mates will send them/ on. I gave them permission to keep any parcel/ you might forward on whilst I am away. It was/ awfully good of you to send the other thing along./ Hoping all are quite well./ I am/ Your Affectionate Nephew/ William E. Carroll. Cpl/ww1, battalion, aif, 815, sgt, carroll, e, 21st, 6th, brigade, 1st, dcm, wiiliam -
Flagstaff Hill Maritime Museum and Village
Functional object - Crucible, The Patent Plumbago Crucible Company, circa 1878
This crucible was raised from the wreck of the LOCH ARD. It is one of six similar relics, in a range of sizes, now in the Flagstaff Hill collection. All bear markings to indicate their manufacture by the Morgan brothers of Battersea, trading as the Patent Plumbago Crucible Co. A crucible is a container used for purifying and melting metals so that they can be cast in a mould to a predetermined shape and use. They must withstand extremely high temperatures, and abrupt cooling, and shed their contents with minimal adherence. The addition of graphite to the traditional firing clays greatly enhanced the durability of industrial crucibles in mid-Victorian Britain, a significant technological advance at a time of great activity in foundries and expansion of demand for refined metals. The Morgans first noticed the advantages of graphite crucibles at the Great Exhibition held in London in 1851. Initially, they contracted to be sole selling agents for the American-made products of Joseph Dixon and Co. from New Jersey, but in 1856 they obtained that firm’s manufacturing rights and began producing their own graphite crucibles from the South London site. The Morgans imported crystalline graphite in 4-5 cwt casks from the British colony of Ceylon (now Sri Lanka) and mixed it with conventional English (Stourbridge) clays to be fired in kilns. Their products were purchased by the Royal Mints in London and India, and exported to official mints in France and Germany. They were successful exhibitors of their crucibles and furnaces at the London Exhibition held in 1861 (Class 1, Mining, quarrying, metallurgy and mineral products, Exhibit 265, Patent Plumbago Crucible Co). The range of sizes represented by the six crucibles retrieved from the LOCH ARD, suggests they may have been part of a sample shipment intended for similar promotion in the Australian colonies ― at Melbourne’s International Exhibition to be held in 1880. The summary of the LOCH ARD cargo manifest, by Don Charlwood in ‘Wrecks and Reputations’, does not mention any crucibles, implying that they were not a large consignment of uniform items. A newspaper account of an 1864 tour of the Morgan brothers’ ‘Black Potteries’ at Battersea indicates: “All the pots were numbered according to their contents, each number standing for one kilogram, or a little over two pounds; a No. 2 crucible contains two kilogrammes; a No. 3, three kilogrammes, and so on.” These numbers are obscured by marine sediment on three of the crucibles in the Flagstaff Hill collection, but those legible on the remaining three are 5, 6, and 8. None of the six is of the same size from a visual appraisal. A brief history of the Loch Ard (1873-1878): - The sailing ship Loch Ard was one of the famous Loch Line of ships that sailed the long voyage from England to Australia. Barclay, Curdle and Co. built the three-masted iron vessel in Glasgow in 1873. It had sailed three trips to Australia and one trip to Calcutta before its fateful voyage. Loch Ard left England on March 2, 1878, under the command of recently married, 29-year-old Captain Gibbs. It was bound for Melbourne with a crew of 37, plus 17 passengers. The general cargo reflected the affluence of Melbourne at the time. Onboard were straw hats, umbrellas, perfumes, clay pipes, pianos, clocks, confectionery, linen and candles, and a heavier load of railway irons, cement, lead and copper. Other cargo included items intended for display in the Melbourne International Exhibition of 1880. The Loch Ard had been sailing for three months and was close to its destination on June 1, 1878. Captain Gibbs had expected to see land at about 3 am but the Loch Ard ran into a fog that greatly reduced visibility and there was no sign of land or the Cape Otway lighthouse. The fog lifted at 4 am and the sheer cliffs of Victoria's west coast were much closer to them than Captain Gibbs expected. He tried to manage the vessel but failed and the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. The top deck loosened from the hull, and the masts and rigging crashed down, knocking passengers and crew overboard. The lifeboat was launched by Tom Pearce but crashed into the side of Loch Ard and capsized. He clung onto its overturned hull and sheltered under it. He drifted out to sea and the tide brought him back to what is now called Loch Ard Gorge. He swam to shore and found a cave for shelter. A passenger, Eva Carmichael, had raced onto the deck to find out what was happening and was confronted by towering cliffs above the ship. She was soon swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He swam out and dragged her to the shelter of the cave. He revived her with a bottle of brandy from a case that had washed up on the beach. Tom scaled a cliff in search of help and followed some horse hoof prints. He came from two men from Glenample Station, three and a half miles away. He told the men of the tragedy and then returned to the gorge while the two men rode back to the station to get help. They reached Loch Ard Gorge and took the two shipwreck survivors to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland by steamship. In Melbourne, Tom Pearce received a hero's welcome and was presented with a medal and some money. 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 her family in the tragedy. The shipwreck of the LOCH ARD is of State significance ― Victorian Heritage Register S417. 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 Morgan’s Patent graphite crucible No.8 (i.e. 8kgs capacity), one of a set. It was recovered from the wreck of the LOCH ARD. It is in its original grey colouring with minimal sediment accretion on the top rim. It rises in a slight curve from a flat circular base to a wider rim with a pouring lip. Maker’s marks on the side of the container clearly identify the manufacturer. The maker's details are stamped into the base around and within a circle. A white sticker is attached. Made by the Patent Plumbago Crucible Company at the Battersea Works in London. Number “8”. Letters “MORGAN’S PATENT”. Details on the base "MORGAN'S PATENT" "THE PATENT PLUMBAGO CRUCIBLE COMPANY" Symbol [8] above "BATTERSEA WORKS LONDON" Handwritten on a white sticker in black pen "LA/89"flagstaff hill, warrnambool, maritime museum, shipwreck coast, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, graphite crucible, plumbago crucible, morgans crucible company, flagstaff hill maritime museum and village, fluxing pots, crucible, morgan’s patent, morgan brothers, patent plumbago crucible co, battersea works, london, port campbell -
Flagstaff Hill Maritime Museum and Village
Functional object - Crucible, The Patent Plumbago Crucible Company, circa 1878
This crucible was raised from the wreck of the LOCH ARD. It is one of six similar relics, in a range of sizes, now in the Flagstaff Hill collection. All bear markings to indicate their manufacture by the Morgan brothers of Battersea, trading as the Patent Plumbago Crucible Co. A crucible is a container used for purifying and melting metals so that they can be cast in a mould to a predetermined shape and use. They must withstand extremely high temperatures, and abrupt cooling, and shed their contents with minimal adherence. The addition of graphite to the traditional firing clays greatly enhanced the durability of industrial crucibles in mid-Victorian Britain, a significant technological advance at a time of great activity in foundries and expansion of demand for refined metals. The Morgans first noticed the advantages of graphite crucibles at the Great Exhibition held in London in 1851. Initially, they contracted to be sole selling agents for the American-made products of Joseph Dixon and Co. from New Jersey, but in 1856 they obtained that firm’s manufacturing rights and began producing their own graphite crucibles from the South London site. The Morgans imported crystalline graphite in 4-5 cwt casks from the British colony of Ceylon (now Sri Lanka) and mixed it with conventional English (Stourbridge) clays to be fired in kilns. Their products were purchased by the Royal Mints in London and India, and exported to official mints in France and Germany. They were successful exhibitors of their crucibles and furnaces at the London Exhibition held in 1861 (Class 1, Mining, quarrying, metallurgy and mineral products, Exhibit 265, Patent Plumbago Crucible Co). The range of sizes represented by the six crucibles retrieved from the LOCH ARD, suggests they may have been part of a sample shipment intended for similar promotion in the Australian colonies ― at Melbourne’s International Exhibition to be held in 1880. The summary of the LOCH ARD cargo manifest, by Don Charlwood in ‘Wrecks and Reputations’, does not mention any crucibles, implying that they were not a large consignment of uniform items. A newspaper account of an 1864 tour of the Morgan brothers’ ‘Black Potteries’ at Battersea indicates: “All the pots were numbered according to their contents, each number standing for one kilogram, or a little over two pounds; a No. 2 crucible contains two kilogrammes; a No. 3, three kilogrammes, and so on.” These numbers are obscured by marine sediment on three of the crucibles in the Flagstaff Hill collection, but those legible on the remaining three are 5, 6, and 8. None of the six is of the same size from a visual appraisal. A brief history of the Loch Ard (1873-1878): - The sailing ship Loch Ard was one of the famous Loch Line of ships that sailed the long voyage from England to Australia. Barclay, Curdle and Co. built the three-masted iron vessel in Glasgow in 1873. It had sailed three trips to Australia and one trip to Calcutta before its fateful voyage. Loch Ard left England on March 2, 1878, under the command of recently married, 29-year-old Captain Gibbs. It was bound for Melbourne with a crew of 37, plus 17 passengers. The general cargo reflected the affluence of Melbourne at the time. Onboard were straw hats, umbrellas, perfumes, clay pipes, pianos, clocks, confectionery, linen and candles, and a heavier load of railway irons, cement, lead and copper. Other cargo included items intended for display in the Melbourne International Exhibition of 1880. The Loch Ard had been sailing for three months and was close to its destination on June 1, 1878. Captain Gibbs had expected to see land at about 3 am but the Loch Ard ran into a fog that greatly reduced visibility and there was no sign of land or the Cape Otway lighthouse. The fog lifted at 4 am and the sheer cliffs of Victoria's west coast were much closer to them than Captain Gibbs expected. He tried to manage the vessel but failed and the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. The top deck loosened from the hull, and the masts and rigging crashed down, knocking passengers and crew overboard. The lifeboat was launched by Tom Pearce but crashed into the side of Loch Ard and capsized. He clung onto its overturned hull and sheltered under it. He drifted out to sea and the tide brought him back to what is now called Loch Ard Gorge. He swam to shore and found a cave for shelter. A passenger, Eva Carmichael, had raced onto the deck to find out what was happening and was confronted by towering cliffs above the ship. She was soon swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He swam out and dragged her to the shelter of the cave. He revived her with a bottle of brandy from a case that had washed up on the beach. Tom scaled a cliff in search of help and followed some horse hoof prints. He came from two men from Glenample Station, three and a half miles away. He told the men of the tragedy and then returned to the gorge while the two men rode back to the station to get help. They reached Loch Ard Gorge and took the two shipwreck survivors to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland by steamship. In Melbourne, Tom Pearce received a hero's welcome and was presented with a medal and some money. 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 her family in the tragedy. The shipwreck of the LOCH ARD is of State significance ― Victorian Heritage Register S417 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 ahipwrecks in Victoria’s history.A Morgan’s Patent graphite crucible No.4 (i.e. 4kgs capacity), one of a set of three. It was recovered from the wreck of the LOCH ARD. It is in its original grey colouring with minimal sediment accretion on the top rim. It rises in a slight curve from a flat circular base to a wider rim with a pouring lip. Maker’s marks on the side of the container clearly identify the manufacturer. The maker's details are stamped into the base around and within a circle. A white sticker is attached. Made by the Patent Plumbago Crucible Company at the Battersea Works in London.Number or. Letters “MORGAN’S PATENT”. Details on the base "MORGAN'S PATENT" "THE PATENT PLUMBAGO CRUCIBLE COMPANY" Symbol [4] above "BATTERSEA WORKS LONDON" Handwritten on a white sticker in black pen "L89"flagstaff hill, warrnambool, 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, graphite crucible, plumbago crucible, morgan's crucible company, flagstaff hill maritime museum and village, fluxing pots, crucible, morgan’s patent, morgan brothers, patent plumbago crucible co, battersea works, london, port campbell -
Flagstaff Hill Maritime Museum and Village
Functional object - Crucible, The Patent Plumbago Crucible Company, circa 1873
Crucibles are used for heating and pouring molten metal. The set of six crucibles was raised from the wreck of the Loch Ard and includes a range of sizes, now in the Flagstaff Hill collection. All were manufactured by the Morgan brothers who founded the Patent Plumbago Crucible Company in 1856, making crucibles in a small factory in Battersea London. A crucible is a container used for purifying and melting metals so that they can be cast in a mould to a predetermined shape and use. They must withstand extremely high temperatures, and abrupt cooling, and shed their contents with minimal adherence. The addition of graphite to the traditional firing clays greatly enhanced the durability of industrial crucibles this technique was pioneered by the Morgan Bros thereby making a significant technological advance in foundry technology and metallurgy. The Morgans first noticed the advantages of graphite crucibles at the Great Exhibition held in London in 1851. Initially, they contracted to be sole selling agents for the American-made products of Joseph Dixon and Co. from New Jersey, but in 1856 they obtained that firm's manufacturing rights and began producing their graphite crucibles from the South London site. The Morgans imported crystalline graphite in 4-5 cwt casks from the British colony of Ceylon (now Sri Lanka) and mixed it with conventional English (Stourbridge) clays to be fired in kilns. Their products were purchased by the Royal Mints in London and India and exported to official mints in France and Germany. They were successful exhibitors of their crucibles and furnaces at the London Exhibition held in 1861 (Class 1, Mining, quarrying, metallurgy and mineral products, Exhibit 265, Patent Plumbago Crucible Co). The range of sizes represented by the six crucibles retrieved from the Loch Ard suggests they may have been part of a sample shipment intended for similar promotion in the Australian colonies or at Melbourne's International Exhibition to be held in 1880. A newspaper account of an 1864 tour of the Morgan brothers' 'Black Potteries' at Battersea indicates: "All the pots were numbered according to their contents, each number standing for one kilogram or a little over two pounds; a No. 2 crucible contains two kilograms; a No. 3, three kilograms, and so on." These numbers are obscured by marine sediment on three of the crucibles in the Flagstaff Hill collection, but those legible on the remaining three are 5, 6, and 8. None of the six is of the same size. A brief history of the Loch Ard (1873-1878): - The sailing ship Loch Ard was one of the famous Loch Line of ships that sailed the long voyage from England to Australia. Barclay, Curdle and Co. built the three-masted iron vessel in Glasgow in 1873. It had sailed three trips to Australia and one trip to Calcutta before its fateful voyage. Loch Ard left England on March 2, 1878, under the command of recently married, 29-year-old Captain Gibbs. It was bound for Melbourne with a crew of 37, plus 17 passengers. The general cargo reflected the affluence of Melbourne at the time. Onboard were straw hats, umbrellas, perfumes, clay pipes, pianos, clocks, confectionery, linen and candles, and a heavier load of railway irons, cement, lead and copper. Other cargo included items intended for display in the Melbourne International Exhibition of 1880. The Loch Ard had been sailing for three months and was close to its destination on June 1, 1878. Captain Gibbs had expected to see land at about 3 am but the Loch Ard ran into a fog that greatly reduced visibility and there was no sign of land or the Cape Otway lighthouse. The fog lifted at 4 am and the sheer cliffs of Victoria's west coast were much closer to them than Captain Gibbs expected. He tried to manage the vessel but failed and the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. The top deck loosened from the hull, and the masts and rigging crashed down, knocking passengers and crew overboard. The lifeboat was launched by Tom Pearce but crashed into the side of Loch Ard and capsized. He clung onto its overturned hull and sheltered under it. He drifted out to sea and the tide brought him back to what is now called Loch Ard Gorge. He swam to shore and found a cave for shelter. A passenger, Eva Carmichael, had raced onto the deck to find out what was happening and was confronted by towering cliffs above the ship. She was soon swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He swam out and dragged her to the shelter of the cave. He revived her with a bottle of brandy from a case that had washed up on the beach. Tom scaled a cliff in search of help and followed some horse hoof prints. He came from two men from Glenample Station, three and a half miles away. He told the men of the tragedy and then returned to the gorge while the two men rode back to the station to get help. They reached Loch Ard Gorge and took the two shipwreck survivors to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland by steamship. In Melbourne, Tom Pearce received a hero's welcome and was presented with a medal and some money. 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 her family in the tragedy. The shipwreck of the Loch Ard is of significance for Victoria and is registered on the Victorian Heritage Register ( S 417). Flagstaff Hill has a varied collection of artefacts from Loch Ard and its collection is significant for being one of the largest accumulation of artefacts from this notable Victorian shipwreck of which the subject items are a small part. The collection's objects give us a snapshot of how we can interpret the story of this tragic event. The collection is also archaeologically significant as it represents aspects of Victoria's shipping history that allows us to interpret Victoria's social and historical themes of the time. Through is associated with the worst and best-known shipwreck in Victoria's history.This crucible is the smallest of three nested crucibles, or fluxing pots, numbered according to their size. These containers rise slightly from a smaller flat base to a wider open top with a lip for pouring. They were recovered from the wreck of the Loch Ard. The crucibles have a coating of sediment that obscures some of their numerical specifications of size and capacity. Made by the Patent Plumbago Crucible Company at the Battersea Works in London. The number on this crucible is obscured by the sticker.Stamped into side "MORGAN'S PATENT" Stemped into base "MORGAN'S PATENT" "THE PATENT PLUMBAGO CRUCIBLE COMPANY" Sticker "L 96"flagstaff hill, warrnambool, graphite crucible, plumbago crucible, morgan's crucible company, loch ard, morgan potteries, crucible, fluxing pot, nested crucibles, heat proof container, metal worker, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, morgans crucible company, flagstaff hill maritime museum and village, fluxing pots, morgan’s patent, morgan brothers, patent plumbago crucible co, battersea works, london, loch ard gorge, port campbell -
Bendigo Military Museum
Album - ALBUM, LETTERS WW2, C.WW2
Herbert Trangmar Allan, refer Cat No 2755.4 for his extensive service records and awards.Pink, hard cover photo album used as a holder to display letters. .1) Letter from C in C Gen HQ Melbourne, 17.4.1942. From Gen BLAMEY to Major H T ALLAN 2/17 AIF. .2) MID Certificate dated 30.12.1941. Major H T ALLAN M C. .3) Letter dated 24.12.1944 from HQ 1Aust Corps to 'Blue' from 'Morshead'. .4) Letter dated 18.4.1946 from OIC NSW Echelon & Records to Mrs G M ALLAN, Bellevue, NSW, notifying her of Award of Mention in Despatches. It refers to NX12229 Lt Col Herbert Trangmar ALLAN HQ 5 Base Sub Area. .5) Letter dated 14.4.1945 from OIC NSW Echelon & Records to Mrs G M ALLAN notifying her of Award of Mention in Despatches. It refers to NX12229 Major T/Col Herbert Trangmar ALLAN, Finschhafen Base Sub Area. .6) Newspaper cutting titled Many NSW Men Receive Bravery Awards. Up to 31.3.1944. Marked down near bottom of the cutting is MID for T/LT Colonel H T ALLAN OBE MC ED. .7) Memo dated 11.1944 from 5 Aust Base Sub Area. Cover note for Record of Service for NX12229 Lt/Col H T ALLAN 5 Aust Base Sub Area. .8) Letter dated 2.8.1942 from NSW L of C Area Sydney to Mrs G M ALLAN Bellevue, NSW, notifying her of MID for Maj H T ALLAN MC NX12229 for his services 2.1941 - 7.1941. Signed by Lt Col H J Bennett. .9) Letter dated 14.4.1945 from OIC NSW Echelon & Records, Sydney to NX12229 Lt Col H T ALLAN HQ 5 Aust Base Sub Area. Aust Honours & Awards. MID. .10) Letter 7.12.1950 from HQ Eastern Command Vic Barracks Paddington to Col H T ALLAN OBE MC ED R of O. Watsons Bay re Change of address to 2MD. .11) Memo dated 28.12.1944 from HQ 1st Army AIF to 5 Aust Base Sub Area re Confirmation of Promotion of NX12229 Major H T ALLAN to Lt Colonel. .12) MID Certificate dated 15.3.1945 for Maj CT / LT Col H T ALLAN OBE MC ED Finschhafen Base Sub Area. .13) MID Certificate dated 19.7.1945 for Major CT / LT Col H T ALLAN OBE MC ED, Finschhafen Base Sub Area. .14) MID Certificate dated 21.2.1946 for LT Col H T ALLAN OBE MC ED, HQ 5 Aust Base Sub Area. .15) Letter. Letterhead is of Parliament of the Commonwealth Federal Members Rooms, Sydney, dated 1.12.1941. To: Dear Mr Allan. From: W M Hughes. Handwritten on 3 sheets of paper using 4 sides. Subject matters such as fighting, AIF, loss of HMAS Sydney, the Russian front. .16) Letter & envelope. Letter: Dated 18.4.? Letterhead: Guards Club Brook St W1. To: Dear ALLAN From: BIRDWOOD of ANZAC. Subject: Their friendship - then they have to deal with 'loathsome Japs & Germans'. Envelope. OHMS, 2-1/2 penny stamp. To: Major H T ALLAN MC & OBE AMF. C/o Defence Dept Melb, Australia. On the bottom is signature of BIRDWOOD M. Readdressed to C/o 9th Div HQ Abroad. Envelope rear is franked: PO 3D JE 42. .17) Memo dated 18.6.1946. From: HQ 8MB. To: H/Col H T ALLAN ANG PcB Rabaul. Releaes of NX12229 Lt Col (T/Col) H T ALLAN OBE MC. Posted to Retired list 7.5.1946. .18) Memo dated 6.11.1946. From: OIC, 2nn Echelon AHQ. AMF. To: Lt Col H T ALLAN OBE MC ED. C/- Mrs G M ALLAN, Queens Club, King St. Sydney NSW. .19) Letter dated 8.8.1941. Letterhead of Minister for the Navy. To: Dear Major ALLAN. From: W HUGHES. Subject: All facets of WWII to date & prospective war with Japan. .20) Memo dated 31.8.1945. From: AMF OIC NSW Echelon & Records. To: Mrs E M ALLAN, King St Sydney. Re: MID for NX12229 Maj (T / LT Col) Herbert Trangmar ALLAN OBE MC ED Finschhafen Base Sub Area.letters, albums, certificates, awards -
Moorabbin Air Museum
Document (item) - Roland Jahne Collection - See Description for details
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Victorian Harness Racing Heritage Collection at Lord's Raceway Bendigo
Clothing - Race Colours, Kevin Innes
KEVIN ‘BOOFA’ INNES By Lucy McCormick Kevin was a member of the celebrated Innes clan from Inglewood, in Central Victoria. “I think the first Innes’ came to Inglewood in 1851. My daughter used to say she can’t marry anyone from Inglewood, because she’s related to them all,” says Kevin. ‘Boofa’ is enjoying some well-earned relaxation on the couch after breaking a kneecap six or seven months ago in a track work incident. Not that it seems to be bothering him too much; he’s got plenty of time to keep up with the trots on television. “I do follow them,” Kevin says. “I don’t miss many, and I do have a bet. I like to sit in the chair and drive a race as much as anyone.” With an illustrious career both as a trainer and in the sulky, it’s a safe bet that Kevin Innes is a more than handy ‘grandstand driver’. His name is associated as a trainer/driver with many handy horses, including Lea Sands, Imatoff and Stormy Morn to name a few. Kevin is typically circumspect about his bigger triumphs, however that doesn’t seem to be what interests him the most. “I’ll tell you something,” he declares, doing just that, “I like winning with the horses that were no good. Some people never get a good horse. Imagine that. Luck is a very, very important thing. You have to have luck to buy a good horse at the sales, to get it going, keep it sound, find a race for it, find and owner and get a draw. And they still make a liar of you.” Funny, interesting or quirky stories seem to be of greater interest to Kevin, such as the time he had a strong chance in a standing start race – the favourite in the race being his only worry. “I told the owner it only had a 20-metre handicap – I couldn’t beat it off that,” he remembers. “So I was leading, waiting for the favourite to run past me. Toward the finish, I heard it coming, and it ran straight past all right – minus the driver. He’d fallen out of the cart and I won the race. Just lucky.” The Innes family have always been heavily involved in one sporting pursuit or another – Kevin himself being a champion bike rider of his time. “My Uncle Roy was a good bike rider, so he dared me to have a go. It turned out I was quite good at it as well.” So good, in fact that for many years Kevin was able to make a living from bike riding, riding the ‘board track’ for many years. “We trained hard. Bike riding was very big back then, we’d train and ride three or four times a week.” Kevin’s riding career spanned four Herald Sun Tours, a Warrnambool to Melbourne and a Sydney to Melbourne race, to name a few. “It definitely gets you in – it was long hours,” he muses. “But like anything, horse racing included, you only get back what you put in. We trained hard. I never drank, and I still don’t. I’ve seen that many athletes, great ones too, brought down by alcohol.” Lucky with injury too, Kevin can only remember a sore ankle – as well as the requisite scrapes and abrasions from tumbles on the wooden boards of the velodromes. He still enjoys watching all the big bike races when he can. “You can watch them race all over the world – France, Sweden, Germany. “To be honest I sit up and watch them with my son and we get just as much of a kick looking at the countryside than anything else. It’s so different to when I was racing.” Betting on the bike racing was big in Kevin’s day as well, and some of the bookies Kevin saw betting on the bike racing, he saw at the Showgrounds betting on the trots on a Friday or Saturday night. “Racing was different back then. There would be twelve thousand people at the showgrounds – they don’t have to come anymore, it’s just as easy to watch it on the TV.” Kevin remembers in those days that drivers had to ‘weigh in’ as well – everyone who drove needed to weigh ten stone (just under 65 kilograms). It’s something he remembers fondly. “I know not everyone will.” Kevin won’t be drawn on the subject of favourite drivers, either. “Look. Driving is different now. No disrespect to current drivers, but you had to think a lot more on a three furlong track than they do now on the bigger tracks. You had to drive with brains. And I really believe that good horses make good drivers. The horses are very good these days. Today’s drivers – your Gavin Langs, Chris Alfords – they’re thinkers, and brains will beat brawn every time. The girls are just as good now too. You only have to look at Kerryn Manning.” A garrulous and popular character, Kevin has trained horses for the likes of legendary Richmond player Jack Dyer, and also spent his fair share of time hosting sportsman’s nights, holding his own with the likes of Ron Barassi. On one such night, they had flown in a light aircraft to their destination. During their show, Kevin noticed their pilot, sitting in the front row, laughing appreciatively. There was one problem. He had a beer in his hand, and was consuming it with some enthusiasm. As the night wore on, the pilot became more and more inebriated, and Kevin became more and more disturbed, knowing that this was the same pilot who was to fly them home when they finished. Unbeknownst to Kevin, however, the flight had been cancelled and the pilot hadn’t told anyone, instead deciding to take full advantage of his client’s hospitality. For now, Kevin is happy living in Inglewood with partner Barbara. Son Grant and daughter Carla aren’t far away (both work at the Bendigo Harness track, and Carla has held both a trainer and driver’s licence). His granddaughter, Barclay Sands, was born on the same day of the demise of their star performer, Lea Sands, and may give the biggest hint yet just how important the world of harness racing is to Kevin ‘Boofa’ Innes. Blue with white yolkKevin Innes embroidered on left side chestkevin innes, k innes, bendigo harness racing club, bhrc, bendigo, horses, race colours, trotting, pacing, harness racing -
Federation University Historical Collection
Document, Establishment of the Ballarat School of Mines, 1870, 1870
The Ballarat School of Mines was the first site of technical edducation in Australasia. It is now a predecessor institution of Federation University Australia. It's first president was Redmond Barry.Correspondence and planning documents relating to the setting up of the Ballarat School of Mines. it includes tenders for contractors for the refurbishment of the former Ballarat Circuit Court. .1) Rules for the pupils of the Mining School at Zurickau, 18/11/1870 (not translated by Emanuel Steinfeld, perhaps by W. Henderson) .2) Regulations of the Mining Academy at Frieberg, 18/11/1870 .3) Einrichtungen, Freiberg, 1870 (written in German) .4) Letter from Somerville Learmonth of Ercildoun to Harrie Wood, Clerk of the Board of Mines Ballarat, accepting a position as one of three trustees of the Ballarat School of Mines, along with Redmond Barry and R.H. Bland, 08/01/1870 .5) Printing order with Robert Wreford, 26/01/1870 .6) H. Waymouth to Mr Bickett re the Ballarat School of Mines, 1780 .7) Letter from R.H. Bland of Clunes to Harrie Wood of the Ballarat Mining Board, 27/01/1870 .8) Letter from Somerville Livingstone Learmonth of Ercildoun to Harrie Woods of the Ballarat Mining Board refusing the offer to be a Trustee of the Ballarat School of Mines, 28/01/1870 .9) Minutes of the meeting of the Ballarat School of Mines Executive Council, 05/02/1870 and Correspondence from Harrie Wood to J. Warrington Rogers re the lease of the building for the Ballarat School of Mines, 21/01/1870 .10) Chief Secretary's Office to Ballarat Mining Board re Life Membership of the Ballarat School of Mines, 02/02/1870 .10b) Letter from Redmond Barry, Carlton Gardens, Melbourne re the visit of the Governor of Victoria to the Ballarat School of Mines, 04/02/1870 .12) Letter from Charles Pucke on behalf of Mr McCulloch to H, Ainswood, Secretary of the Ballarat Mining Board, 11/07/1870 .13) Correspondence from Henry Rosales of Walhalla (Chairman of the Gippsland Mining Board) to James Baker of the Ballarat School of Mines, 28/12/1870 .11) Meeting of the Executive Council, Bickett, Eddy Downes, 08/02/1870 .14) Letter from John Phillips, contract surveyor of St Arnaud to Mr Newman, Vice-President of the Ballarat School of Mines, 15/12/1870 .15) Articles ordered and obtained for the Ballarat School of Mines, 03/01/1870 .16) Telegram from John Lewis of Clunes to the Ballarat School of Mines. .16b) Quote from painter Thomas Robson for painting the Ballarat School of Mines, 05/06/1870 .17) Note from Duncan Gillies to Harrie Wood re grant for the Ballarat School of Mines, 05/06/1870 .18) Correspondence re Grant to the Ballarat School of Mines, Duncan Gillies, 04/07/1870 .19) Correspondence concerning the Ballarat School of Mines from F. Valient to Harrie Wood, 14/05/1870 .19b) Correspondence from Somerville Livingstone Learmonth to Harrie Woods - an apology for a meeting with Judge Rogers, 23/05/1870 .20) Letter from R.H. Bland to Harrie Wood, 15/07/1870 .22) Telegraph from J. Warrington Rogers to Harrie Wood of the Ballarat Mining Board concerning tenders for the Ballarat School of Mines, which was established in 1870. .23) Letter from Ballarat Mining Board to Judge Warrington Rogers, 31/05/1870 .24) Telegraph to Harrie Wood of the Ballarat Mining Board from J. Warrington Rogers concerning Sir Redmond Barry. A note at the bottom of the telegraph notes ‘This telegram has been delayed through repairs on line. .25) Letter on Melbourne Public Library Letterhead from librarian Augustus Fulk, 05/08/1870 .26) Letter from R.H. Bland to Harrie Wood, 30/05/1870 .27) Letter from Robert Park re alteration of the former Ballarat Court House for use as the Ballarat School of Mines, 05/05/1870. .28) Letter from G. Whitty re painting of the former Ballarat Court House for use as the Ballarat School of Mines, 04/05/1870 .29) Letter from William Newman re plastering of the former Ballarat Court House for use as the Ballarat School of Mines, 05/05/1870 .30) Letter from Charles A. Abbott re teaching Mechanical Drawing at the Ballarat School of Mines, 04/04/1870 .32) Letter from Redmond Barry to the Ballarat School of Mines, 07/1870 .31) National Insurance Company of Australia insurance for the Ballarat School of Mines (former Ballarat Circuit Court), 01/05/1870 .33) Letter from R.H. Bland to Harrie Wood, 09/1870 .34) Letter from Somerville Livingstone Learmonth to Harrie Wood, 06/09/1870 .35) Letter to the Chief Secretary to the Ballarat School of Mines Library & Museum, 30/11/1870 .36) Parliament house (Kitto) to the Ballarat Mining Board, 15/11/1870 .37) H. de la Poer Wall of Grenville College to R.W. Newman of the Ballarat School of Mines, 27/04/1971 .38) W.H. Odgers to the Ballarat East Town Clerk, 20/05/1870 .39) Correspondence to the Borough of Clunes for the Ballarat Mining Board requesting a grant to set of a school of mines at Ballarat. 25/03/1870 .40) Surveyor to Harrie Wood, Mining Registrar, 27/04/1870 .40) Letter to Judge Warrington Rogers re the contractor's account for satisfactory completion of work on the Ballarat School of Mines, 11/07/1870 .43) Desks for the Ballarat School of Mines by Henry Gough, 1870 .44) Ballarat Star Office to James Baker of the Ballarat School of Mines, 1870ballarat school of mines, frieberg mining academy, learmonth, somerville learmonth, wreford, weymouth, bland, rivet henry bland, barry, redmond barry, mcculloch, phillips, john phillips, robson, gillies, duncan gillies, warrington rogers, melbourne public library, whitty, robert park, newman, william newman, charles abbott, janes baler, de la poer wall, odgers, louis le gould, wood, harrie wood, steinfeld, emanuel steinfeld, ainswood, pucke, thomas robson, telegraph, telegram, state library of victoria, fulks, architecture, reed, j. reed, rosales, abbott, charles a. abbott, mechanical drawing, drawing, ballarat circuit courthouse, ballarat courthouse, national insurance company of australia, grenville college, chief secretary's office, robert sandon, school of mines, schools of mines, establishment, ballarat school of mines establishment, germany, london, ercildoun -
Federation University Historical Collection
Photograph, Alexander Wright (Navarre)
Alexander Wright was born on 25 August, 1898 in Smeaton He was the brother of musician Frank Wright. Alex Wright was killed whilst performing at the Birmingham Empire as the result of a German air Attack in October 1940. The theatre had a direct hit. According to Frank Wright Alex was a great impersonator with a unique range Bass - tenor with many accents (not unlike Peter Dawson) "AUSTRALIAN CARUSO Smeaton Boy's Fame Andre Navarre, who left Australia about three years ago to study opera in Europe, bids fair to take a place among the world's great tenors. A few months ago Navarre sang for Melba for the first time, and she immediately acclaimed him to be a finished artist, describing his voice as the nearest approach to the immortal Caruso she had ever heard, writes the Ballarat "Courier." Andre Navarre is, however, only a stage name adopted by Alexander Wright, a son of Mr. and Mrs. William. Wright, of Armstrong street North, Ballarat, and brother of Mr. Frank Wright and Mrs. William Ritchie, of that city. Born at smeaton 31 years ago, in what may be termed a musical atmosphere; Alex. Wright showed a definite desire to sing at a very early age, and in his boyhood figured as soloist at school concerts, etc. His youth was spent around Smeaton, working at home and at various farms in the district until he was about 19 years of age, when he secured a position at the Dunlop rubber works, Melbourne. Up to this period Wright had no vocal training whatever, but being the possessor of a good resonant baritone voice, was persuaded by some of his friends to "have a go at the stage.'' Securing a position in the chorus of "Maid of the Mountains," which was at that time showing at the Theatre Royal, he soon made his voice heard to advantage, and also commenced to take lessons from Signor Robottaro. It was about this time that Wright was invited by a fellow musician to a musical evening at which a member of Rigo's grand opera company, then performing at " The Playhouse," was also present. Hearing Wright sing, the musician immediately said : ' You're a fool to waste your time in a chorus with that voice. Rigo is looking for a singer like you for the role of 'Figaro' in 'Barber of Seville'." Alex, however, did not take the remark seriously, and it was only after the numerous persuasions of friends who obviously knew the real value of his voice that the modest young man was eventually induced to meet Rigo. The Italian maestro was so delighted with the voice that without hesitation he was given the principle role of "The Barber" to study. Many singers having previously been tried and rejected for the part, Wright was astonished at his success in being chosen, and awakened suddenly to the fact by the maestro that a world voice, if properly trained, would surely develop in the young artist, Alex at once settled down to study, and all day long in his boarding house at St. Kilda could be heard rehearsing his new role. In less than a month he had completely mastered the part, and on the opening night, in the exacting role of "The Barber," he was an outstanding success. Later, he toured Australia with many leading artists, including Elsa Stralia and Harry Lauder, and spent his last two years in Sydney, where he was engaged as soloist in the biggest picture house. Realising that a training in Italy and on the Continent was essential for a successful operatic singer, the young artist decided to go overseas to continue his studies. He did not leave Australia, however, before he gratuitously gave a concert in his little home town to the obvious delight of all his old friends, who flocked from all parts of the district to hear him. The hall was packed to overflowing , and so pleased was Alex with the tumultuous reception he received that he sang fewer than 20 songs. Once in Italy, he lost no time in placing himself under the tuition of Cottone, and it was at the studio of this maestro that he met Toti dal Monte, a former protege of the same master. Two years were spent in Italy, when "Navarre" learned to speak the Italian language fluently, and acquired a wide knowledge of the operas. He sang in Milan about a year ago, and was paid some glowing tributes by the Italian Press critics, who likened his voice to that of Caruso. From Italy he went to Paris, where he met John Brownlee and many other famous singers. The critics on the Continent are unanimous that Andre Navarre-the unassuming Smeaton boy, whom his schoolmates still affectionately call "Hock"--is destined to become one of the luminaries in music history. It is interesting to recall some facts concerning the remarkable family from which this artist springs. Four other members have won championship honors in the musical world. Mr. Frank Wright has the Australasian cornet championship to his credit ; Mr. Norman Wright, of Sydney, has won a tenor championship of New Zealand, and has recorded for the Columbia Gramophone Company ; Mrs. Wm. Ritchie ( formerly Miss Laura Wright) won the A.N.A. contralto championship in Melbourne; whilst the oldest member, Lydia (Mrs. C. Cane, now in N.Z.) won the violin championship at South Street when 17 years of age. Last year Mrs. and Mr. Wright celebrated their golden wedding. Both of the old folk are intensely musical, and it has been said that the voice of the mother, although entirely untrained, showed in her earlier days glimpses of the beautiful quality which made Melba famous. Andre Navarre does not propose leaving the Continent for some time. Recently he was offered a 12 months' contract to sing in London for £2500 but on the advice of Melba and his coach, it was refused on the grounds that yet another 12 months' French study was necessary to ensure absolute perfection. That "Alex " has lost none of his school-boy wit is evinced by his own jocular remark that he has "a top C sharp that will crack every window in the Sydney Town Hall!" (Horsham Times, 20 February 1931) "AUSTRALIAN KILLED An Australian, Alexander Wright, radio variety star, who toured Europe and Australia under the pseudonym of Navarre, was killed during a recent air raid in a Midland . town. His broth-er, Frank Wright, is musical director for the London County council."(Border Morning Mail, 22 Oct 1940) Black and white image of Smeaton born Alexander Wright whose professional name was Navarre "Prince of Mimics". alexander wright, alec wright, navarre -
National Wool Museum
Textile - Skirt, Tina Knitwear, 1980-2000
Part of a selection of garments knitted by ‘Tina Knitwear’. Tina Knitwear was a successful made to order knitwear business in Brighton from the mid-1960s to around 2010, run by Assunta and Franco Liburti. Daughter Melissa Persi writes: Our parents Assunta (Mum) and Franco (Dad) Liburti ran a successful made to order knitwear business in Brighton from the mid-1960s to around 2010. Assunta was affectionately known to her family as Assuntina, therefore the business was named "Tina Knitwear" after her. Assunta and Franco were born in the beautiful seaside town of Terracina in Italy in 1933 and 1930 respectively. As was so common in Italy in the 1950s, Assunta who was in her late teens and early twenties learnt the intricate skills of machine knitting, dressmaking and pattern making. Franco on the other hand, learnt the building trade with his 2 brothers and specialised in bricklaying and tiling. As was so common after the war, Assunta and Franco yearned for a better life so they decided that they would get engaged and then migrate to Australia to be married and raise their family in Australia, a land of much opportunity which they no longer felt their beloved Italy held for them. Assunta migrated to Australia first in 1957 and later Franco joined her in 1958 where they were married. For the first few years, Franco (also known as Frank) worked as bricklayer /tiler on buildings such as the Robert Menzies building at Monash University in Clayton and various buildings in the Melbourne CBD. Assunta on the other hand put her machine knitting skills to use working in factories doing piece machine knitting for various knitwear companies. The hours were long, the conditions were difficult, and travel was onerous without a car. After their 2 older children were born, it was decided that dad would leave the building trade and they would start their own made to order knitwear business. That way they could work from home and raise their family together. Mum taught dad everything he needed to know so he could operate the knitwear machinery. They purchased COPPO knitting machines from Italy and a Linking machine from Germany. Initially they had a knitwear shopfront in Bay Street Brighton where a store assistant would take the orders and client’s measurements and Assunta would then make the garments from a small workshop in their home. Unfortunately, the assistants were not skilled dressmakers and often measurements and orders were incorrectly taken. Assunta being the perfectionist and highly skilled machinist that she was, decided that she needed to oversee the entire process from meeting the client, to taking their order, right thru to the fittings and completion of the garment. It therefore made sense that they should close the shop front and run their business from their own home in Brighton and hence “Tina Knitwear” was born. Together, for more than 40 years they ran their very respected and successful business and were well known in the Bayside area. They specialised in made to order knitwear for both men and women using mainly pure wool (from Patons, Wangaratta Mills, Japan and Italy) but also lurex and estacel. Over those years, many of their clients became their close friends. It wasn't unusual for clients to come to order garments and then end up in the kitchen chatting over a cup of Italian espresso coffee and homemade biscuits. Some of their clients were especially memorable and became lifelong friends. Mrs Connell was a dear friend of mum’s, each year she would buy tickets for the “Gown of the Year” fashion show. She would insist on taking Assunta and her 2 daughters so that we could see the latest fashions. Then there was their dear friend Ms Griffiths. She had been a Matron nurse at the Queen Victoria Hospital when she met my parents in the 1970s. She returned to live in New Zealand in the 1980s but came back to Melbourne every year to stay for 2 weeks with the sole purpose of visiting my parents (she adored them) and order garments. For those 2 solid weeks, mum and dad would only knit for Ms Griffiths and she would go back to New Zealand with at least 5 or 6 new outfits. I actually think she enjoyed mum’s homemade pasta almost as much as her new clothes! Over the years, my parents learnt to speak English very well given that majority of their clients were not Italian speaking. Their oldest child John born in 1960 learnt to speak English with the help of those clients who were such a big part of our childhood. Mum and dad always went above and beyond to ensure their clients were satisfied. Mum was an absolute perfectionist and it showed in her attention to detail and the quality of their beautiful work. You only need to look at the garments that have stood the test of time or speak to their clients to know that this is true. Their clients would always comment on how well their clothes would last and much of their clients came via word of mouth and recommendations. Occasionally there would be disagreements because mum had found an error in dad's knitting (either a wrong stitch or a sizing mistake mainly) and would ask him to redo a piece, he would argue back saying that it was fine, but we always knew who would win the argument and that the piece would get remade! Similarly, we recall discussions where mum would ask dad to find a particular colour of wool in the garage where the stock was kept. He would try to convince her that they were out of stock of that colour and that the client should choose a different colour. She would insist they had it and then after hours of searching, he would return into the house sheepishly holding the wool! Our childhood is full of beautiful memories of mum and dad always being present, clients coming and going, mum humming her favourite songs as she worked often late into the night and sometimes, we even fell asleep to the hum of the machinery. They put their heart and soul into "Tina Knitwear" and took pride in providing only the best quality garments for their clients. In Italian there is a saying “lei ha le mani d’oro” which literally translated means “she has hands of gold”. Franco enjoyed his work but for Assunta, it was more than just work and there is no better way to describe her skills, passion and dedication to her machine knitting… she truly did have “hands of gold”. We will forever be grateful that our parents’ life journey gave us the opportunity to live in a home filled with creativity, dedication and passion, amazing work ethic and mutual respect, lifelong friendships and a lifetime of love. Red ribbed skirt with elastic waistband.knitwear, clothing, italy, migrants, brighton, knitting machine, linking machine, garments, business, family, community -
National Wool Museum
Textile - Skirt, Tina Knitwear, 1980-2000
Part of a selection of garments knitted by ‘Tina Knitwear’. Tina Knitwear was a successful made to order knitwear business in Brighton from the mid-1960s to around 2010, run by Assunta and Franco Liburti. Daughter Melissa Persi writes: Our parents Assunta (Mum) and Franco (Dad) Liburti ran a successful made to order knitwear business in Brighton from the mid-1960s to around 2010. Assunta was affectionately known to her family as Assuntina, therefore the business was named "Tina Knitwear" after her. Assunta and Franco were born in the beautiful seaside town of Terracina in Italy in 1933 and 1930 respectively. As was so common in Italy in the 1950s, Assunta who was in her late teens and early twenties learnt the intricate skills of machine knitting, dressmaking and pattern making. Franco on the other hand, learnt the building trade with his 2 brothers and specialised in bricklaying and tiling. As was so common after the war, Assunta and Franco yearned for a better life so they decided that they would get engaged and then migrate to Australia to be married and raise their family in Australia, a land of much opportunity which they no longer felt their beloved Italy held for them. Assunta migrated to Australia first in 1957 and later Franco joined her in 1958 where they were married. For the first few years, Franco (also known as Frank) worked as bricklayer /tiler on buildings such as the Robert Menzies building at Monash University in Clayton and various buildings in the Melbourne CBD. Assunta on the other hand put her machine knitting skills to use working in factories doing piece machine knitting for various knitwear companies. The hours were long, the conditions were difficult, and travel was onerous without a car. After their 2 older children were born, it was decided that dad would leave the building trade and they would start their own made to order knitwear business. That way they could work from home and raise their family together. Mum taught dad everything he needed to know so he could operate the knitwear machinery. They purchased COPPO knitting machines from Italy and a Linking machine from Germany. Initially they had a knitwear shopfront in Bay Street Brighton where a store assistant would take the orders and client’s measurements and Assunta would then make the garments from a small workshop in their home. Unfortunately, the assistants were not skilled dressmakers and often measurements and orders were incorrectly taken. Assunta being the perfectionist and highly skilled machinist that she was, decided that she needed to oversee the entire process from meeting the client, to taking their order, right thru to the fittings and completion of the garment. It therefore made sense that they should close the shop front and run their business from their own home in Brighton and hence “Tina Knitwear” was born. Together, for more than 40 years they ran their very respected and successful business and were well known in the Bayside area. They specialised in made to order knitwear for both men and women using mainly pure wool (from Patons, Wangaratta Mills, Japan and Italy) but also lurex and estacel. Over those years, many of their clients became their close friends. It wasn't unusual for clients to come to order garments and then end up in the kitchen chatting over a cup of Italian espresso coffee and homemade biscuits. Some of their clients were especially memorable and became lifelong friends. Mrs Connell was a dear friend of mum’s, each year she would buy tickets for the “Gown of the Year” fashion show. She would insist on taking Assunta and her 2 daughters so that we could see the latest fashions. Then there was their dear friend Ms Griffiths. She had been a Matron nurse at the Queen Victoria Hospital when she met my parents in the 1970s. She returned to live in New Zealand in the 1980s but came back to Melbourne every year to stay for 2 weeks with the sole purpose of visiting my parents (she adored them) and order garments. For those 2 solid weeks, mum and dad would only knit for Ms Griffiths and she would go back to New Zealand with at least 5 or 6 new outfits. I actually think she enjoyed mum’s homemade pasta almost as much as her new clothes! Over the years, my parents learnt to speak English very well given that majority of their clients were not Italian speaking. Their oldest child John born in 1960 learnt to speak English with the help of those clients who were such a big part of our childhood. Mum and dad always went above and beyond to ensure their clients were satisfied. Mum was an absolute perfectionist and it showed in her attention to detail and the quality of their beautiful work. You only need to look at the garments that have stood the test of time or speak to their clients to know that this is true. Their clients would always comment on how well their clothes would last and much of their clients came via word of mouth and recommendations. Occasionally there would be disagreements because mum had found an error in dad's knitting (either a wrong stitch or a sizing mistake mainly) and would ask him to redo a piece, he would argue back saying that it was fine, but we always knew who would win the argument and that the piece would get remade! Similarly, we recall discussions where mum would ask dad to find a particular colour of wool in the garage where the stock was kept. He would try to convince her that they were out of stock of that colour and that the client should choose a different colour. She would insist they had it and then after hours of searching, he would return into the house sheepishly holding the wool! Our childhood is full of beautiful memories of mum and dad always being present, clients coming and going, mum humming her favourite songs as she worked often late into the night and sometimes, we even fell asleep to the hum of the machinery. They put their heart and soul into "Tina Knitwear" and took pride in providing only the best quality garments for their clients. In Italian there is a saying “lei ha le mani d’oro” which literally translated means “she has hands of gold”. Franco enjoyed his work but for Assunta, it was more than just work and there is no better way to describe her skills, passion and dedication to her machine knitting… she truly did have “hands of gold”. We will forever be grateful that our parents’ life journey gave us the opportunity to live in a home filled with creativity, dedication and passion, amazing work ethic and mutual respect, lifelong friendships and a lifetime of love. Red wide ribbed pleated skirt with a plain yoke, navy blue band at bottom edge and elasticated waistband. A purple x is located inside to mark centre back of skirt.knitwear, clothing, italy, migrants, brighton, knitting machine, linking machine, garments, business, family, community -
National Wool Museum
Textile - Men's Coat, c1940s
Franco Liburti was wearing this coat when he farewelled his wife Assunta in Naples, Italy in 1957, the day she departed for Australia. Tina Knitwear was a successful made to order knitwear business in Brighton from the mid-1960s to around 2010, run by Assunta and Franco Liburti. Daughter Melissa Persi writes: Our parents Assunta (Mum) and Franco (Dad) Liburti ran a successful made to order knitwear business in Brighton from the mid-1960s to around 2010. Assunta was affectionately known to her family as Assuntina, therefore the business was named "Tina Knitwear" after her. Assunta and Franco were born in the beautiful seaside town of Terracina in Italy in 1933 and 1930 respectively. As was so common in Italy in the 1950s, Assunta who was in her late teens and early twenties learnt the intricate skills of machine knitting, dressmaking and pattern making. Franco on the other hand, learnt the building trade with his 2 brothers and specialised in bricklaying and tiling. As was so common after the war, Assunta and Franco yearned for a better life so they decided that they would get engaged and then migrate to Australia to be married and raise their family in Australia, a land of much opportunity which they no longer felt their beloved Italy held for them. Assunta migrated to Australia first in 1957 and later Franco joined her in 1958 where they were married. For the first few years, Franco (also known as Frank) worked as bricklayer /tiler on buildings such as the Robert Menzies building at Monash University in Clayton and various buildings in the Melbourne CBD. Assunta on the other hand put her machine knitting skills to use working in factories doing piece machine knitting for various knitwear companies. The hours were long, the conditions were difficult, and travel was onerous without a car. After their 2 older children were born, it was decided that dad would leave the building trade and they would start their own made to order knitwear business. That way they could work from home and raise their family together. Mum taught dad everything he needed to know so he could operate the knitwear machinery. They purchased COPPO knitting machines from Italy and a Linking machine from Germany. Initially they had a knitwear shopfront in Bay Street Brighton where a store assistant would take the orders and client’s measurements and Assunta would then make the garments from a small workshop in their home. Unfortunately, the assistants were not skilled dressmakers and often measurements and orders were incorrectly taken. Assunta being the perfectionist and highly skilled machinist that she was, decided that she needed to oversee the entire process from meeting the client, to taking their order, right thru to the fittings and completion of the garment. It therefore made sense that they should close the shop front and run their business from their own home in Brighton and hence “Tina Knitwear” was born. Together, for more than 40 years they ran their very respected and successful business and were well known in the Bayside area. They specialised in made to order knitwear for both men and women using mainly pure wool (from Patons, Wangaratta Mills, Japan and Italy) but also lurex and estacel. Over those years, many of their clients became their close friends. It wasn't unusual for clients to come to order garments and then end up in the kitchen chatting over a cup of Italian espresso coffee and homemade biscuits. Some of their clients were especially memorable and became lifelong friends. Mrs Connell was a dear friend of mum’s, each year she would buy tickets for the “Gown of the Year” fashion show. She would insist on taking Assunta and her 2 daughters so that we could see the latest fashions. Then there was their dear friend Ms Griffiths. She had been a Matron nurse at the Queen Victoria Hospital when she met my parents in the 1970s. She returned to live in New Zealand in the 1980s but came back to Melbourne every year to stay for 2 weeks with the sole purpose of visiting my parents (she adored them) and order garments. For those 2 solid weeks, mum and dad would only knit for Ms Griffiths and she would go back to New Zealand with at least 5 or 6 new outfits. I actually think she enjoyed mum’s homemade pasta almost as much as her new clothes! Over the years, my parents learnt to speak English very well given that majority of their clients were not Italian speaking. Their oldest child John born in 1960 learnt to speak English with the help of those clients who were such a big part of our childhood. Mum and dad always went above and beyond to ensure their clients were satisfied. Mum was an absolute perfectionist and it showed in her attention to detail and the quality of their beautiful work. You only need to look at the garments that have stood the test of time or speak to their clients to know that this is true. Their clients would always comment on how well their clothes would last and much of their clients came via word of mouth and recommendations. Occasionally there would be disagreements because mum had found an error in dad's knitting (either a wrong stitch or a sizing mistake mainly) and would ask him to redo a piece, he would argue back saying that it was fine, but we always knew who would win the argument and that the piece would get remade! Similarly, we recall discussions where mum would ask dad to find a particular colour of wool in the garage where the stock was kept. He would try to convince her that they were out of stock of that colour and that the client should choose a different colour. She would insist they had it and then after hours of searching, he would return into the house sheepishly holding the wool! Our childhood is full of beautiful memories of mum and dad always being present, clients coming and going, mum humming her favourite songs as she worked often late into the night and sometimes, we even fell asleep to the hum of the machinery. They put their heart and soul into "Tina Knitwear" and took pride in providing only the best quality garments for their clients. In Italian there is a saying “lei ha le mani d’oro” which literally translated means “she has hands of gold”. Franco enjoyed his work but for Assunta, it was more than just work and there is no better way to describe her skills, passion and dedication to her machine knitting… she truly did have “hands of gold”. We will forever be grateful that our parents’ life journey gave us the opportunity to live in a home filled with creativity, dedication and passion, amazing work ethic and mutual respect, lifelong friendships and a lifetime of love. Men's coat featuring a charcoal herringbone weave, with three buttons down the front and on each sleeve cuff.knitwear, clothing, italy, migrants, brighton, knitting machine, linking machine, garments, business, family, community, naples