This set of 8 photographs was produced by the Rose Stenograph Co. c1913 to be included in photograph albums. The show tourist scenes of Sassafras and surrounds. The photographs were donated by a family in Western Australia whose parents lived in Sassafras c1918.Small b & w photograph from a series of 8 showing scenes from Sassafras produced by the Rose Stenograph Co. c1913.On reverse - Clematis Avenue, Sassafras.sassafras, clematis avenue

This set of 8 photographs was produced by the Rose Stenograph Co. c1913 to be included in photograph albums. The show tourist scenes of Sassafras and surrounds. The photographs were donated by a family in Western Australia whose parents lived in Sassafras c1918.Small b & w photograph from a series of 8 showing scenes from Sassafras produced by the Rose Stenograph Co. c1913.On reverse - Sherbrooke Falls, Sherbrookesherbrooke, sherbrooke falls, sassafras, falls

This set of 8 photographs was produced by the Rose Stenograph Co. c1913 to be included in photograph albums. The show tourist scenes of Sassafras and surrounds. The photographs were donated by a family in Western Australia whose parents lived in Sassafras c1918.Small b & w photograph from a series of 8 showing scenes from Sassafras produced by the Rose Stenograph Co. c1913.On reverse - Sassafras - Olinda Roadsassafras, olinda, sassafras-olinda road

This set of 8 photographs was produced by the Rose Stenograph Co. c1913 to be included in photograph albums. The show tourist scenes of Sassafras and surrounds. The photographs were donated by a family in Western Australia whose parents lived in Sassafras c1918.Small b & w photograph from a series of 8 showing scenes from Sassafras produced by the Rose Stenograph Co. c1913.On reverse - Jacob's Ladder, Sherbrooke.jacob's ladder, sherbrooke, sassafras

This set of 8 photographs was produced by the Rose Stenograph Co. c1913 to be included in photograph albums. The show tourist scenes of Sassafras and surrounds. The photographs were donated by a family in Western Australia whose parents lived in Sassafras c1918.Small b & w photograph from a series of 8 showing scenes from Sassafras produced by the Rose Stenograph Co. c1913.On reverse - The Main Road, Sassafras.sassafras

This set of 8 photographs was produced by the Rose Stenograph Co. c1913 to be included in photograph albums. They show tourist scenes of Sassafras and surrounds. The photographs were donated by a family in Western Australia whose parents lived in Sassafras c1918.Small b & w photograph from a series of 8 showing scenes from Sassafras produced by the Rose Stenograph Co. c1913.On reverse - Tourist Track, Sassafrassassafras, bridge, footbridge, rose series

This set of 8 photographs was produced by the Rose Stenograph Co. c1913 to be included in photograph albums. The show tourist scenes of Sassafras and surrounds. The photographs were donated by a family in Western Australia whose parents lived in Sassafras c1918.Small b & w photograph from a series of 8 showing scenes from Sassafras produced by the Rose Stenograph Co. c1913.On reverse - Tourist Track, Sassafrassassafras

This set of 8 photographs was produced by the Rose Stenograph Co. c1913 to be included in photograph albums. The show tourist scenes of Sassafras and surrounds. The photographs were donated by a family in Western Australia whose parents lived in Sassafras c1918.Small b & w photograph from a series of 8 showing scenes from Sassafras produced by the Rose Stenograph Co. c1913.On reverse - Panorama of Sassafrassassafras, jacob's ladder, sherbrooke

Harry and brother Les completed certificate courses. They were sons of the head teacher at Dromana State School where E.B. Littlejohn began school. Harry subsequently farmend in Western Australia and Les at Redhill, Vic. E.B. Littlejohn.Students P. Haines and H. Wiseman (1928) Beside PondsOn reverse, "Peggy Haines and Harry Wiseman 1927, E. Chalmers 29 Macleod Pde. Macleod."ella chalmers (née fry), peggy haines, harry wiseman, 1927, les wiseman, students, certificate courses, dromana state school, e.b. littlejohn, luffmann ponds

Collection of newspaper clippings in scrap book dated 1960 - 1973First petroleum venture in Western Port Bay. Description of the floating station, Vincas and history from 1930's. Photo of Vincas. and the Nina Barthem transferring petrol to Vincas."This floating station started it all".local history, newspapers, western port installation, floating station, "vincas", jean jamieson

Collection of newspaper clippings in scrap book dated 1960 - 1973Article with photo describing the berthing of the oil tanker, BP Endeavour, at the Westernport refinery wharf."First tanker arrives"local history, newspapers, westernport oil installation, arrival of 1st tanker 1966, bp endeavour, jean jamieson

This iron chaff cutter was a vital piece of rural machinery especial for cattle in areas subjected to limited grass growing seasons. The Kiewa Valley and Alpine regions were up to the 21st century "snowed" in. The conditions requiring summer crops and fodder to be prolonged for the harsh winter climate are now becoming less and less and may confirm the precursor of "global warming". The Kiewa Valley is still a strong base for dairy cattle and other stock requiring all year access to hay/grass supplies. The use of, now defunct, Tobacco drying sheds for the storage of hay and other fodder is typical of the Australian farmer/grazier's adaptability to utilise anything available. To think outside the square.Black Iron Chaff Cutter. The wheel has a single piece inside with 4 curved spokes with adjustable blades attached by 4 screws & 3 rivets. The wheel has a wooden handle. Operated by cogs. HOCKING GREASE BALLARAT COGS FREELYagriculture, farm machinery, stock feeding, grazier, farm animals

This item was used well before European settlement and clearly demonstrates the development of the local Aboriginal tribes, Dhudhuroa and Yaitmathang in the use of a cutting /chopping implement, made from Mount William sourced material i.e. greenstone. This item was probably traded at the Bogong Mountain tribal yearly summer ceremoniesThe significance of this item places it at the fore front of human development in this region. The period when this tool was manufactured represents the time when the natural landscape had not been altered and the natural vegetation, fauna and flora, had not been subjected to imported species.This also proves that local tribes did live in this area and or the Bogong High Plains.Small ground edge stone axe head. Leading cutting edge very smooth and chiseled to a fine edge. Weight is, for its size fairly heavy. It is made from Greenstoneaboriginal tool stone ground-edge axe indigenous tool

This Edwardian-era mourning outfit was worn by a wealthy woman from the rural area of Willaura, southeast of the Grampians. It was inherited by the donor from his mother, who had purchased it from a clearing sale in the 1960s. The jacket has a peplum or flounce below the waistline, a fashion that was seen in the 1860s and is still around in the 1900s. The outfit represents the female mourning fashion and wardrobe from the late 19th to early 20th centuries. Such garments were a necessary inclusion as death often occurred to the young, due to illness, accidents and hard work - it was a regular part of life in rural Victoria. Mourning outfits were part of a person’s wardrobe and often passed from one generation to the next. This particular outfit appears to have been adjusted at some stage to allow for a wider waistline. The original skirt may have been replaced by the one that is now part of this outfit; the skirt is all machine-sewn, unlike the jacket and petticoat. The fabric of the skirt may be silk or it could be a synthetic fibre such as artificial silk or rayon; both were available in the 1800s,but nylon wasn’t invented until the 1930s. This skirt has sunray pleating, which was advertised on skirts for sale in the 1890s, and 1909, and was part of a fashionable bridal gown train in the 1930s. The mourning of death was part of both family and community life, particularly in rural and remote areas. People were bonded through work, religion, disasters, tragedy and social activities, supporting one another. They came together from near and far on such an occasion, giving each other the care that was needed and showing respect for the member who had passed away.This three-piece silk Edwardian mourning outfit is significant historically for its connection with rural Victoria and the social and religious customs surrounding the death of a family or community member. The high-quality outfit is also significant for representing the financial management of the times, being tailored by a dressmaker for a person of means and then adjusted to fit at least one different-sized person. Ladies’ Edwardian mourning outfit; three-piece tailored suit comprising of a black silk long sleeve, short-waist fitted and lined Jacket, a long sunray pleated skirt and long, lined petticoat. Items have been machine-sown and hand-sewn by a dressmaker. The skirt has handmade buttons of the same fabric.Handwritten in ballpoint pen “Jenny” and “Mrs Sheila Handscombe, Wallaura, Jenny”flagstaff hill maritime museum and village, warrnambool, shipwreck coast, edwardian era, tailor-made, dressmaker, mourning outfit, handmade garment, mourning dress, death mourning, sunray pleats, western district victoria

This Edwardian era mourning outfit was worn by a wealthy woman from the rural area of Willaura, southeast of the Grampians. It was inherited by the donor from his mother, who had purchased it from a clearing sale in the 1960s. The jacket has a peplum or flounce below the waistline, a fashion that was seen in the 1860s and is still around in the 1900s. The outfit represents the female mourning fashion and wardrobe from the late 19th to early 20th centuries. Such garments were a necessary inclusion as death occurred often to the young, due to illness, accidents and hard work - it was a regular part of life in rural Victoria. Mourning outfits were a part of a person’s wardrobe and often passed from one generation to the next. This particular outfit appears to have been adjusted at some stage to allow for a wider waistline. The original skirt may have been replaced by the one that is now part of this outfit; the skirt is all machine-sewn, unlike the jacket and petticoat. The fabric of the skirt may be silk or it could be a synthetic fibre such as artificial silk or rayon; both were available in the 1800s,but nylon wasn’t invented until the 1930s. This skirt has sunray pleating, which was advertised on skirts for sale in the 1890s, and 1909, and was part of a fashionable bridal gown train in the 1930s. The mourning of death was part of both family and community life, particularly in rural and remote areas. People were bonded through work, religion, disasters, tragedy and social activities, supporting one another. They came together from near and far on such an occasion, giving each other the care that was needed and showing respect for the member who had passed away.This three-piece silk Edwardian mourning outfit is significant historically for its connection with rural Victoria and the social and religious customs surrounding the death of a family or community member. The high-quality outfit is also significant for representing the financial management of the times, being tailored by a dressmaker for a person of means and then adjusted to fit at least one different-sized person. The black silk tailor-made jacket is one of three pieces of a ladies’ Edwardian mourning outfit. It has long sleeves, a stand-up collar trimmed with appliqued black crochet lace, and pleated sashes on the left and right sides from front to back fastened at the shoulder and waist. The jacket has a peplum or flounce below the waistline. The front of the jacket has brass hooks and fabric eye fastenings. The back of the jacket has two tails. The jacket is lined and the shoulders are padded. It has been machine sewn and finished with hand stitching. A white card is tied with a ribbon inside and has an inscription. The poplin skirt on the jacket has been cut up to the waist at the side seams. There is an attached card with an inscription, handwritten in ballpoint pen.“Jenny” and “Mrs Sheila Handscombe, Wallaura, Jenny”flagstaff hill maritime museum and village, warrnambool, shipwreck coast, edwardian era, tailor-made, dressmaker, mourning outfit, handmade garment, mourning dress, death mourning, sunray pleats, sunburst pleats, western district victoria, mourning jacket

This Edwardian-era mourning outfit was worn by a wealthy woman from the rural area of Willaura, southeast of the Grampians. It was inherited by the donor from his mother, who had purchased it from a clearing sale in the 1960s. The jacket has a peplum or flounce below the waistline, a fashion that was seen in the 1860s and is still around in the 1900s. The outfit represents the female mourning fashion and wardrobe from the late 19th to early 20th centuries. Such garments were a necessary inclusion as death often occurred to the young, due to illness, accidents and hard work - it was a regular part of life in rural Victoria. Mourning outfits were part of a person’s wardrobe and often passed from one generation to the next. This particular outfit appears to have been adjusted at some stage to allow for a wider waistline. The original skirt may have been replaced by the one that is now part of this outfit; the skirt is all machine-sewn, unlike the jacket and petticoat. The fabric of the skirt may be silk or it could be a synthetic fibre such as artificial silk or rayon; both were available in the 1800s, but nylon wasn’t invented until the 1930s. This skirt has sunray pleating, which was advertised on skirts for sale in the 1890s, and 1909, and was part of a fashionable bridal gown train in the 1930s. The mourning of death was part of both family and community life, particularly in rural and remote areas. People were bonded through work, religion, disasters, tragedy and social activities, supporting one another. They came together from near and far on such an occasion, giving each other the care that was needed and showing respect for the member who had passed away.This three-piece silk Edwardian mourning outfit is significant historically for its connection with rural Victoria and the social and religious customs surrounding the death of a family or community member. The high-quality outfit is also significant for representing the financial management of the times, being tailored by a dressmaker for a person of means and then adjusted to fit at least one different-sized person. The full-length black silk tailor-made skirt is one of three pieces of a ladies’ Edwardian mourning outfit. The skirt is made from black silky fabric. The garment has only two seams; at the side closure and the centre back. The whole skirt has sunray pleats; narrow pleats at the waist that fan outwards towards the hem. The top of the skirt is finished with a waistband that is shaped as an upward V shape in the centre. The side seam is closed with four self-fabric buttons with silver metal backing. The shirt has been machine sewn.flagstaff hill maritime museum and village, warrnambool, shipwreck coast, edwardian era, tailor-made, dressmaker, mourning outfit, mourning dress, death mourning, sunray pleats, western district victoria, full-length skirt

This Edwardian-era mourning outfit was worn by a wealthy woman from the rural area of Willaura, southeast of the Grampians. It was inherited by the donor from his mother, who had purchased it from a clearing sale in the 1960s. The jacket has a peplum or flounce below the waistline, a fashion that was seen in the 1860s and is still around in the 1900s. The outfit represents the female mourning fashion and wardrobe from the late 19th to early 20th centuries. Such garments were a necessary inclusion as death often occurred to the young, due to illness, accidents and hard work - it was a regular part of life in rural Victoria. Mourning outfits were part of a person’s wardrobe and often passed from one generation to the next. This particular outfit appears to have been adjusted at some stage to allow for a wider waistline. The original skirt may have been replaced by the one that is now part of this outfit; the skirt is all machine-sewn, unlike the jacket and petticoat. The fabric of the skirt may be silk or it could be a synthetic fibre such as artificial silk or rayon; both were available in the 1800s,but nylon wasn’t invented until the 1930s. This skirt has sunray pleating, which was advertised on skirts for sale in the 1890s, and 1909, and was part of a fashionable bridal gown train in the 1930s. The mourning of death was part of both family and community life, particularly in rural and remote areas. People were bonded through work, religion, disasters, tragedy and social activities, supporting one another. They came together from near and far on such an occasion, giving each other the care that was needed and showing respect for the member who had passed away.This three-piece silk Edwardian mourning outfit is significant historically for its connection with rural Victoria and the social and religious customs surrounding the death of a family or community member. The high-quality outfit is also significant for representing the financial management of the times, being tailored by a dressmaker for a person of means and then adjusted to fit at least one different-sized person. The full-length black silk tailor-made petticoat is one of three pieces of a ladies’ Edwardian mourning outfit. The petticoat is made from black silk lined with lightweight cotton. The petticoat and lining are constructed from eight panels each, brought together at the waist and gently gathered into the band. The back seam opening is fastened with brass hooks and fabric eyes. The lining has been reinforced with a heavier-weight hem. The hemline is finished with black velvet ribbon than encloses both the petticoat and lining. flagstaff hill maritime museum and village, warrnambool, shipwreck coast, edwardian era, tailor-made, dressmaker, mourning outfit, handmade garment, mourning dress, death mourning, sunray pleats, western district victoria, petticoat, undergarment, slip

This painting shows a historic depiction of Australian whalers in action at sea, and shows the scale of man to whale. Whaling was one of the first industries in early Victoria. John Dollery was born in London in 1933. As a child he loved to draw and was a frequent visitor to the National and Tate Galleries. In 1957 Dollery came to Australia, settling in Queensland in 1965. After receiving a prize in a drawing exhibition, he began painting in oils, and is entirely self-taught. Whilst in Queensland he painted most of his canvases strictly from life and in 1977 he moved to Melbourne where he established himself as a full-time artist. John was very interested in Australia’s history, and most of his work represents this theme. Many of his pieces are in collections both in Australia and overseas. Dollery’s daughter is also an artist and has exhibited both her father's and her own works together in an exhibition 'Now and Then, Father and Daughter'.The painting is a significant work by artist John Dollery. Its subject of whaling shows an early Australian industry and shows the scale of man to whale. The decorative frame is appropriate for the era in which the scene would have taken place.Painting in oil on canvas, in gilt carved timber frame. Seascape, depicting a whale hunt. A spouting whale is behind a whale boat with six whalers aboard. A tall ship with seamen aboard is behind the whale. Two other tall ships and another whale boat are in background. An embossed plaque in bottom centre of lower frame has inscription.. Artist is J. Dollery. Stamped on the sticker “John Dollery / ARTIST / Crown Lot 16 The Esplanade Corinella, Victoria 3984 / Telephone: (056) 78 0644 “ Hand written on sticker “THE CHASE $xxx” Embossed in the wooden frame “30 / ART / Specturm” Signed “J DOLLERY”flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, whales, whaling, industry, whale oil, blubber, john dollery, the chase, corinella, historic art work, australian art work, australian historic artwork

The aircraft was built in 1957 by Cliff Brown. It is an EPB 1, a 26 foot tailless sailplane designed in United States by Al Backstrom, Phil Easley and Jack Powell in 1954 as a simple, cheap, compact craft.A small number of single seat gliders of this type were built in Australia in the 1950s. As far as is presently known, the only surviving substantially complete EPB 1s are Cliff Brown’s glider and another held by the RAAF Association at Bull Creek in Western Australia. Unfortunately, no trace exists of the Flying Plank built by Glidair Sailplanes in Sydney and test flown by Fred Hoinville at Moorabbin in 1957. In addition, a larger two seat derivative (known as the Twin Plank) designed and built by Glidair Sailplanes (completed 1958) is held at the Power House Museum, Castlehill, in Sydney. Single seat tailless glider with wing tip rudders. The glider is of wood / fabric construction and has been restored for static display by recovering with new fabric and painting. Noneaustralian gliding, glider, flying wing, flying plank, home-built, cliff brown, al backstrom, fred hoinville, glidair sailplanes

The well known sculpture of English playwright William Shakespeare takes an elaborate bow before the Civic Hall, a performance and community center for Ballarat. The unique abstract and elongated mannerist style used in this cast bronze sculpture hints at the art deco style of the Hall behind. The sculptor, Andor Mészáros, was from Budapest but created much of his work in Melbourne. He also created works for Canterbury Cathedral in the UK and several carved stone sculptures for Sydney Hospital. The artwork was commissioned in 1959 through a widely publicised competition and installed in 1960. In addition to making sculptures, Mészáros was also renown as a creator of medallions. In 1951 he received 'the highest award' at the International Medallion Exhibition, Madrid and in 1964 he won the 'purchase prize' at the International Medallion Competition, Arezzo, Italy. From 1970 Mészáros worked with his younger son Michael, also a sculptor. In 2002, the City of Ballarat granted permission for Michael Mészáros to make a cast of the Ballarat Shakespeare artwork to create replica installed in Budapest. The Budapest installation commemorates Shakespeare's connection to the City and the achievements of Andor Mészáros. The artwork was unveiled by Mayor Arthur W. Nicholson. The statue was presented by L.F. North, general Manager of the Fidelity Trustee Company Limited, representing the late H.P. Stevens as one of the benefactors whose generosity enabled the Statue to be erected.The artwork is of aesthetic significance to the people of BallaratLarge bronze statue of William Shakespeare mounted on a stone plinthWilliam Shakespeare 1564-1616. Erected by benefactions from Harry Pearson Stevens who settled here 1855 and other Citizens unveiled by Arthur W. Nicholson J.P. Mayor.17.11.1960shakespeare, andor mészáros, civic hall, ballarat

"The Western District Centenary Souviner"Published in 1934 as an anniversary edition for Edward Henty making his historic landing on the shores of Portland Bay on November 19, 1834Has tourism and business advertisements for Peterborough businesses. Refers to families and and early settlers of Peterborough. Sold for ? in Barry Jenkins General StoreA magazine shaped booklet. Cover replaced with wall paper and bound with tape and string. Forward stuck to front cover. Browned with age and taped on a few pagesWholly set up, Printed and Published at THE TERANG EXPRESS""Office, Terangmoyne shire, peterborough 3270, western district souvenir, peterborough general store, london bridge, great ocean road

John Nesbeit Preston was born on 5 October 1897 in Gisbourne, New Zealand. He served in the RAN from 1919 to 1942. He served on the Stuart (Vendetta) from 1941 - 1943.This diary is a significant primary source detailing the daily life of J.N. Preston's service for the RAN on the HMAS Vendetta and other vessels during World War II. It represents a detailed account of his travels and experience of war.A small diary with a navy cover. Hand written entries begin 9th January 1941. Describes J. N. Preston's daily life, routine and experiences during his service from 1941 during World War II. "Diary" stamped on front cover. Made in Australia. "L.A. Reynolds/ For Music/ Records/ Instruments/ Allan's Pianos/ Murray St, Colac. CAR 14150j. n. preston, hmas vendetta, world war ii, geelong naval and maritime museum

Brown binder with picture of a patrol boat on the cover. Bound with brass screws.non-fictionThis journal required to be kept by Seaman Ratings as a ready reckoner.seamanship, navy, ran, royal australian navy