In 1792 John Manners had set up a workshop making woodworking planes at 14 Saracens Lane Glasgow. He also had employed an apprentice Alexander Mathieson (1773-1851). But in the following year at Saracen's Lane, the 1841 census describes Alexander Mathieson as a master plane-maker now at 38 Saracen Lane with his son Thomas Adam working with him as a journeyman plane-maker. Presumably, Alexander must have taken over the premises and business of John Manners. Now that the business had Thomas Adam Mathieson working with his father it gradually grew and became more diversified, and it is recorded at the time by the Post-Office Glasgow Annual Directory that by 1847-1848 Alexander Mathieson was a “plane, brace, bit, auger & edge tool maker” In 1849 the firm of James & William Stewart at 65 Nicolson Street, Edinburgh was taken over and Thomas was put in charge of the business, trading under the name Thomas A. Mathieson & Co. as plane and edge-tool makers. Thomas's company went on to acquire the Edinburgh edge-tool makers “Charles & Hugh McPherson” and took over their premises in Gilmore Street. In the Edinburgh directory of 1856/7, the business is recorded as being Alexander Mathieson & Son, plane and edge-tool makers at 48 Nicolson Street and Paul's Work, Gilmore Street Edinburgh. The 1851 census Alexander is recorded as working as a tool and plane-maker employing eight men. Later that year Alexander died and his son Thomas took over the business. Under the heading of an edge-tool maker in the 1852/3 Post-Office Glasgow Annual Directory the firm is now listed as Alexander Mathieson & Son, with further entries as "turning-lathe and vice manufacturers". By the early 1850s, the business had moved to 24 Saracen Lane. The directory for 1857/8 records that the firm had moved again only a few years later to East Campbell Street, off the Gallowgate area, and that through further diversification was also manufacturing coopers' and tinmen's tools. The ten-yearly censuses report the firm's growth in 1861 stating that Thomas was a tool manufacturer employing 95 men and 30 boys; in 1871 he had 200 men working for him and in 1881 300 men. By 1899 the firm had been incorporated as Alexander Mathieson & Sons Ltd, even though only Alexander's son Thomas appears ever to have joined the firm so the company was still in his fathers' name. In September 1868 Thomas Mathieson put a notice in the newspapers of the Sheffield & Rotherham Independent and the Sheffield Daily Telegraph stating that his firm had used the trade-mark of a crescent and star "for some time" and that "using or imitating the Mark would be proceeded against for infringement". The firm had acquired its interest in the crescent-and-star mark from the heirs of Charles Pickslay, the Sheffield cutler who had registered it with the Cutlers' Company in 1833 and had died in 1852. The year 1868 seems also to be the one in which the name Saracen Tool Works was first adopted; not only does it figure at the foot of the notice in the Sheffield press, it also makes its first appearance in the firm's entry in the Post-Office Glasgow Annual Directory in the 1868/9 edition. As Thomas Mathieson's business grew, so too did his involvement in local public life and philanthropy. One of the representatives of the third ward on the town council of Glasgow, he became a river bailie in 1868, a magistrate in 1870 and a preceptor of Hutcheson's Hospital in 1878. He had a passion for books and was an "ardent Ruskinian". He served on the committee handling the bequest for the setting up of the Mitchell Library in Glasgow. When he died at Coulter Maynes near Biggar in 1899, he left an estate worth £142,764.  Company's later years: Both Thomas's sons, James Harper and Thomas Ogilvie were involved in the continuing life of the firm. James followed in his father's footsteps in becoming a local public figure. He was appointed Deputy Lieutenant of the County of the City of Glasgow and was made a deacon of the Incorporation of the Hammermen of Glasgow in 1919. His brother Thomas Ogilvie was recorded as tool manufacturer and employer in the 1911 census. Thomas Ogilvie's son Thomas Alastair Sutherland Ogilvie Mathieson was born in 1908 took a rather different approach to engineering, however, by becoming a racing driver. In 1947 he wed the French film actress Mila Parély. The firm had won many awards at world fairs for their goods. At the Great Exhibition, London, 1851. Prize medal for joiners' tools in the class of Cutlery & Edge Tools, Great London Exposition, 1862. Prize medal honoris causa. International Exhibition, Melbourne, 1880. Gold medal International Exhibition of Industry, Science and Art, Edinburgh, 1886. Prize medalThe firm of Alexander Mathieson & Son was one of the leading makers of hand tools in Scotland. Its success went hand in hand with the growth of the shipbuilding industries on the Firth of Clyde in the nineteenth century and the emergence of Glasgow as the "second city of the Empire". It also reflected the firm's skill in responding to an unprecedented demand for quality tools by shipyards, cooperages and other industries, both locally and far and wide.Smoothing Plane coffin type reinforcing screws in body complete with iron and wedge Maker Alex Mathieson and Son flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

This ship's wheel was hand made from wood and metal using a recycled cart wheel. It originally belonged to the "Reginald M", a 2 masted, flat bottomed, coastal trading ketch with single chine. The REGINALD M The vessel “Reginald M” was a two-masted coastal ketch, owned and built by Mr. Jack (John) Murch of Birkenhead, Port of Adelaide, South Australia. Its construction took approximately 6 months and it was launched at Largs Bay in 1922. The Reginald M’s purpose was to serve the coastal trade of South Australia, to carry cargo cheaply and efficiently. It is believed that the keel was in fact hewn from two telegraph poles! Its builder frequented all the salvage yards for materials and fittings. Reginald M had a very shallow draft and a flat bottom that enabled it to come close to shore and to sit high and dry at low tide or to be beached on sand. The flat bottom was also to make the ship able to skim over reefs. Wagons could load and unload direct from her side. Her cargo included Guano, Barley, Wool, Horses, Cattle, Timber, Explosives, Potatoes, Shell Grit and Gypsum. On April 9th 1931Reginald M weathered a large storm in St Vincent Gulf, SA. The vessel suffered much damage; mast snapped and the crew laboured for four hours to free her by chopping off the past and rigging. The crew patched her up and slowly returned to Port Adelaide with only a portion of the insured cargo being damaged. Her crew members at the time were owner Mr John H Murch of Wells Street Largs Bay, Skipper Mr R Murch – John’s brother, Murray – son of Captain Murch and Seaman John Smith. Reg Webb purchased Carribie Station, at Marion in the Warooka District, south of Adelaide, in 1921. He cleared the land and farmed sheep and grain. In 1923 he shipped his own wool and grain from Marion Bay, having first carted 300 bags of the barley grain, 12 bags at a time, along the unmade track to the jetty. A photograph donated to Flagstaff Hill, dating about 1929 - 1942, shows two men on the Reginald M, holding between them their fishing catch of a large hammer shark. The photograph is stamped “GRENFELL STUDIO PORT LINCOLN PRINT” and titled “hammer shark caught on Reginald Emm”. The donor’s family lived on the Your Peninsular and despatched their grain from a chute at Gleeson’s Landing to the awaiting transport vessel. Reg knew the Murch Brothers from Port Adelaide. The brothers had been using their ketch REGINALD M to ship Guano from the Islands, led by Captain Richard Murch. Reg approached them in 1934 about shipping grain from Marion Bay. The brothers visited the bay and thought it was an ideal place. They showed Reg where to stack his grain and they measured up the cliffs. When Reg was ready, they brought down and installed a ninety foot wooden chute. The bags of grain were then individually sent down the chute, landing in a waiting small boat then rowed to REGINALD M, 14 bags at a time. After 10 hours REGINALD M would be fully loaded with 1300 bags of grain and shipped to waiting ports. At one time a wild storm destroyed the chute but it was rebuilt and strengthened. REGINALD M was involved in shipping the grain from there until 1938. In 1940 Able Seaman Allan H Lucas served on Reginald M between September and December, being engaged and discharged from Port of Adelaide. His Certificate of Discharge was signed by ship’s Master W S Murch. It seems that at some stage Reginald M was used as a Customs vessel, as one photograph in Flagstaff Hill’s collection shows “H.M.C. No. 3, Pt Adelaide” on the bow. In 1969 the last freight left Marion Bay on the ketch REGINALD M carrying grain, wool and explosives. In late 1970 she was sold to the Mt. Lyell Mining and Railway Company and was used by them as a barge to carry explosives. In 1972 the Navy League of Strahan, Tasmania, purchased her for use by the Strahan Sea Cadet Unit to use at Macquarie Harbour and renamed her T.S. Macquarie. However this plan for use of Reginald M did not come to pass. In 1974 Mr. Andrew Rennie, of East Brighton, Melbourne, bought her for a similar purpose. , paying $5,000 and donating a ‘Cadet of the Year” trophy to the Sea Cadets. He sailed her from Strahan to Melbourne, planning to use her for pleasure sailing. Also in 1975 Reginald M was sold to Melbourne Ferry Company at auction. Later in 1975 the Reginald M was bought by Flagstaff Maritime Museum for $20,000 . She has been restored and is now one of the exhibits in the Village lagoon or lake. It was restored in 2006 using funds from a $4,000 government grant. This ship's wheel is significant because of its association with the REGINALD M. REGNIALD M was a coastal trading ketch from South Australia built in 1922. It is one of very few sailing coastal trading vessels still extant, and its flat bottom, single chine shape illustrates a very simple but robust method of construction, compared to other round bilged examples of trading vessels. She is now listed on the Australian Register of Historic Vessels (ARHV Number: HV000562.)Ship’s wheel, also called a Helm, eight spoke design. Centre of wheel is handmade of wood and has iron rings around each side. The spokes are fitted into this wooden hub. The outer wheel has an iron ring on one side and sections of a wooden ring on the other. There are both original and modern bolt and screw fastenings. The wheel has remnants of black paint. This ship’s wheel was originally fitted to the ketch REGINALD M and removed during its restoration. flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, ship's wheel, hand made ship's wheel, coastal trader, reginald m, ketch, john murch, ch murch, reg webb, carribie station, mt lyell copper company, queenstown navy league, andrew rennie, melbourne ferry company, r.f. dale

In 1792 John Manners had set up a workshop making woodworking planes at 14 Saracens Lane Glasgow. He also had employed an apprentice Alexander Mathieson (1773-1851). But in the following year at Saracen's Lane, the 1841 census describes Alexander Mathieson as a master plane-maker now at 38 Saracen Lane with his son Thomas Adam working with him as a journeyman plane-maker. Presumably, Alexander must have taken over the premises and business of John Manners. Now that the business had Thomas Adam Mathieson working with his father it gradually grew and became more diversified, and it is recorded at the time by the Post-Office Glasgow Annual Directory that by 1847-1848 Alexander Mathieson was a “plane, brace, bit, auger & edge tool maker” In 1849 the firm of James & William Stewart at 65 Nicolson Street, Edinburgh was taken over and Thomas was put in charge of the business, trading under the name Thomas A. Mathieson & Co. as plane and edge-tool makers. Thomas's company went on to acquire the Edinburgh edge-tool makers “Charles & Hugh McPherson” and took over their premises in Gilmore Street. In the Edinburgh directory of 1856/7, the business is recorded as being Alexander Mathieson & Son, plane and edge-tool makers at 48 Nicolson Street and Paul's Work, Gilmore Street Edinburgh. The 1851 census Alexander is recorded as working as a tool and plane-maker employing eight men. Later that year Alexander died and his son Thomas took over the business. Under the heading of an edge-tool maker in the 1852/3 Post-Office Glasgow Annual Directory the firm is now listed as Alexander Mathieson & Son, with further entries as "turning-lathe and vice manufacturers". By the early 1850s, the business had moved to 24 Saracen Lane. The directory for 1857/8 records that the firm had moved again only a few years later to East Campbell Street, off the Gallowgate area, and that through further diversification was also manufacturing coopers' and tinmen's tools. The ten-yearly censuses report the firm's growth in 1861 stating that Thomas was a tool manufacturer employing 95 men and 30 boys; in 1871 he had 200 men working for him and in 1881 300 men. By 1899 the firm had been incorporated as Alexander Mathieson & Sons Ltd, even though only Alexander's son Thomas appears ever to have joined the firm so the company was still in his fathers' name. In September 1868 Thomas Mathieson put a notice in the newspapers of the Sheffield & Rotherham Independent and the Sheffield Daily Telegraph stating that his firm had used the trade-mark of a crescent and star "for some time" and that "using or imitating the Mark would be proceeded against for infringement". The firm had acquired its interest in the crescent-and-star mark from the heirs of Charles Pickslay, the Sheffield cutler who had registered it with the Cutlers' Company in 1833 and had died in 1852. The year 1868 seems also to be the one in which the name Saracen Tool Works was first adopted; not only does it figure at the foot of the notice in the Sheffield press, it also makes its first appearance in the firm's entry in the Post-Office Glasgow Annual Directory in the 1868/9 edition. As Thomas Mathieson's business grew, so too did his involvement in local public life and philanthropy. One of the representatives of the third ward on the town council of Glasgow, he became a river bailie in 1868, a magistrate in 1870 and a preceptor of Hutcheson's Hospital in 1878. He had a passion for books and was an "ardent Ruskinian". He served on the committee handling the bequest for the setting up of the Mitchell Library in Glasgow. When he died at Coulter Maynes near Biggar in 1899, he left an estate worth £142,764.  Company's later years: Both Thomas's sons, James Harper and Thomas Ogilvie were involved in the continuing life of the firm. James followed in his father's footsteps in becoming a local public figure. He was appointed Deputy Lieutenant of the County of the City of Glasgow and was made a deacon of the Incorporation of the Hammermen of Glasgow in 1919. His brother Thomas Ogilvie was recorded as tool manufacturer and employer in the 1911 census. Thomas Ogilvie's son Thomas Alastair Sutherland Ogilvie Mathieson was born in 1908 took a rather different approach to engineering, however, by becoming a racing driver. In 1947 he wed the French film actress Mila Parély. The firm had won many awards at world fairs for their goods. At the Great Exhibition, London, 1851. Prize medal for joiners' tools in the class of Cutlery & Edge Tools, Great London Exposition, 1862. Prize medal honoris causa. International Exhibition, Melbourne, 1880. Gold medal International Exhibition of Industry, Science and Art, Edinburgh, 1886. Prize medalThe firm of Alexander Mathieson & Son was one of the leading makers of hand tools in Scotland. Its success went hand in hand with the growth of the shipbuilding industries on the Firth of Clyde in the nineteenth century and the emergence of Glasgow as the "second city of the Empire". It also reflected the firm's skill in responding to an unprecedented demand for quality tools by shipyards, cooperages and other industries, both locally and far and wide.Rabbet plane with a flat base. The blade wedge is inserted but without a blade. Made by A Mathieson and Son.Inscription "Alex Mathieson and Son" no longer visibleflagstaff hill, warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, cabinet makers tools, carpenders tools, wood planes, rabbeting plane, window making, tools, wood working, hand tool

Nails such as this solid copper nail were forged by blacksmiths. A nail of this length could have been used for the ship's decking. It was recovered from the shipwreck of the barque Children. The Children wrecking: The barque Children was one of the first vessels to be lost in the Western District the vessel was wrecked to the east of Warrnambool on 14th January 1838. When it ran ashore in hurricane-force winds, 22 passengers and crew were fortunate to escape being battered to death on the rocks. The Children broke up within 20 minutes, sweeping sixteen of those on board to their deaths. After eleven days, the survivors, all of whom were injured, were rescued and taken to Portland. According to Lloyd's Shipping Register 1837-1839, the Children was built in 1825 at Liverpool and operated by owners Gordon & Co, of London. Registration number 123/1837, James Henty then bought her in 1837 as a three-masted barque of 254 tons, with a hull of “part pitch pine, felt sheathed” and “coppered in 1837” at Launceston registered number 6/1837. In 1838 the Children, under her master Captain H. Browne, completed a successful round trip from Launceston to London (carrying wool and whale oil loaded in Portland), returning in late November of that year carrying a general cargo including house bricks used for ballast. On the 11th of January 1839, the Children sailed from Launceston for Adelaide, with 24 passengers, 14 crew, and an awkward mixed cargo, including 1500 sheep, 8 bullocks, 7 horses, and farming implements, and six whaleboats with associated whaling gear. One account states that when the Children were “put out from port she was light and badly ballasted”. The vessel immediately encountered four days of hurricane-force storms, eventually clearing on the early morning of the 14th. However, it was too late to take accurate measurements of the sun or stars to establish their position relative to the coast. The Children collided with a limestone stack at the entrance of Childers Cove, and the seas smashed her into pieces within half an hour. All the cargo and 16 lives were lost including 8 children. The Henty brothers contributed £150 towards a fund for the 22 survivors at a memorial service held in Launceston later that year. It was a major financial setback for James Henty and his brothers, but one from which they recovered. In a submission to the Governor of New South Wales dated 24 March 1840, the Henty’s summarised their work over the previous six years of establishing the Portland settlement stating. “Six stations have been occupied, one at Portland Bay three at the open country about 60 miles inland called ‘Merino Downs’ They have erected two houses at Portland Bay and two others at Merino Downs”.This nail is significant as part of the vessels original fixtures. The Children was delivering cargo intended for the Portland Bay settlement of her owners the James Henty brothers The wreck is also significant as one of the first vessels to have been lost in the Western District of Warrnambool. As a result the shipwreck of the Children is registered with the Victorian Heritage Register S116. Ship's nail, copper, with a washer attached. The nail has a round head, solid round shank and a flat end. It is bent, twisted and has indentations in the centre section. The nail was recovered from the wreck of the CHILDREN.warrnambool, flagstaff-hill-maritime-museum, shipwreck-coast, shipwreck artefact, the children, nail, copper nail, ship's nail, children shipwreck

This small piece of wood was cut from a rib of the wreck of the Enterprise in c1885 by Mr John Flett (1869 – 1944), whilst it was lying on the beach in Lady Bay, Warrnambool. Mr Flett was about 16 years old at the time and used the wood (with other pieces from the wreck) to make a picture frame. A newspaper report published in the Gippsland Gazette on Tuesday 16th July 1912 titled "An Interesting Relic" describes a picture frame being displayed in Mr. Flett's shop in Warragul which was of interest as it had been made from wood taken from the wreck of the Enterprise when it was lying on the beach at Lady Bay, Warrnambool. This was still in his possession in the 1930’s when Mr. Flett presented the small sample of wood to Mr. Henri Worland of the Warrnambool Museum and Art Gallery - along with a signed letter of ownership. A transcription of the letter is as follows - “Kalos” 12 Yendon Road Glen Huntly S.E.9 Dear Mr Warland, I am enclosing herewith a small piece of timber which, about 50 years ago, I cut from a rib of the old wreck which at that time was well known as the old “Enterprise”. I am prepared to sign a sworn statement that this is a piece of that wreck and has never been out of my possession since I cut it from the wreck. Since returning to the city I visited the museum and inspected the walking stick and small model of a boat, presented I think, by Mr Richie. I notice the different grain of the timber and would suggest that they are not Blue Gum, and the piece I am enclosing is definitely of that Tasmanian timber. Of course there may have been other imported timbers used and only the frame of the vessel made of the Blue Gum; I am not suggesting an error on the part of Mr Richie, who evidently knew the old wreck [in an?] earlier date than I did. The piece I am enclosing was incorporated in an old picture frame which I made 50 years ago, and although not used for many years has always been in my possession. With kind regards Yours faithfully J Flett (signature) P.S. I have other small pieces in a small photo frame which I may let you see some day, but not just now. Mr R. Christian will recognise the other frame when he sees it, as we were working together when it was made. J.F. There were several branches of Fletts living in Warrnambool in the mid to late 1800’s. They were all related and had emigrated from Stromness in the Orkney islands – arriving mostly in the 1850’s on different ships. John Flett’s mother was Jessie Isbister who arrived in Australia in 1852 with her family on board the Ticonderoga. Over 168 passengers died on the voyage including two of Jessie’s sisters and one of her brothers. Mrs Jessie Flett's obituary (titled "An Old Colonist") which appeared in the West Gippsland Gazette on Tuesday 8th September 1914 describes her early connections to Warnambool and the Ticonderoga. John Flett moved from Warrnambool to Birchip, Warragul and later went to Melbourne where he worked for the YMCA. During WW1, he worked at the Caulfield Military Hospital and volunteered for active service with the YMCA in France -caring for the welfare of the soldiers. After the war, he continued to work with the YMCA in a secretarial capacity. THE ENTERPRISE 1847-1850 The wooden, two-masted schooner Enterprise was built in New Zealand in 1847 and registered in Melbourne, Australia. The Enterprise carried a cargo of agricultural produce and other commodities for trade between the ports of the Colony. On September 14, 1850, the Enterprise was at anchor in Lady Bay under its Master, James Gardiner Caughtt, loaded with a cargo of wheat and potatoes. A strong south-easterly wind caused the vessel to drag on its only anchor and the rudder was lost. The gale force wind blew it sideways and it became grounded. A local aboriginal, Buckawall, braved the rough sea to take a line from the shore to the Enterprise. All five members of the crew were able to make it safely to land. The Enterprise was totally wrecked. The Enterprise wreck was in an area called Tramway Jetty in Lady Bay. Since then the area became the location of the Lady Bay Hotel and now, in 2019, it is in the grounds of the Deep Blue Apartments. In fact, with the constantly changing coastline through built-up sand, the wreck site is now apparently under the No 2 Caravan Park in Pertobe Road, perhaps 150 metres from the high tide. Its location was found by Ian McKiggan (leader of the various searches in the 1980s for the legendary Mahogany Ship). DIFFERENTIATING the New Zealand Schooner “Enterprise” from John Fawkner’s “Enterprize“ Dr. Murray Johns, Melbourne, says in his article The Mahogany Ship Story “… In fact, as I documented in 1985, the Warrnambool wreck was of an entirely different ship, also called Enterprize [with the spelling ‘Enterprise’], but built in New Zealand in 1847. Fawkner’s ship had already been sold to a Captain Sullivan in 1845 and was wrecked on the Richmond Pier in northern New South Wales early in 1847. “ - (further details are in NOTES: and FHMV documents) Mr Flett had assumed the timber was Tasmanian Gum as he thought it had come from the Enterprise which had been owned by Mr Fawkner and built in Tasmania but we now know the ship was built in New Zealand and the timber was most probably New Zealand Rimu.This piece of wood is significant for its association with the wreck of the schooner Enterprise, now on the Victorian Heritage List VHR S238, being a New Zealand built but Australian owned coastal trader. The wreck is also significant, by connection with the Enterprise, for its association with indigenous hero Buckawall who saved the lives of the five crew on board. The original owner of the wood (Mr John Flett) is significant as a member of one of Warrnambool’s pioneering families, which has contributed to the growth of the community in several ways over the years, living and working in the area.Small square piece of brown wood with a handwritten inscription on the back. The front is polished with a prominent grain and a shallow indentation along two sides. The back has the words "FLETT" and "ENTERPRISE" written in ink with a line separating them. The back is rough and has two indentations - possibly from a nail or tack. The wood sample is accompanied by a letter. Handwritten letter (two pages) of authenticity by Mr. John Flett to Mr. Worland (Manager of the Warrnambool Museum and Art Gallery). Transcribed below"FLETT" and "ENTERPRISE"flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, carpentry, enterprise, lady bay warrnambool, schooner enterprise, wreck of the enterprise 1850, buckawall, shipwreck relic, john flett, warrnambool museum and art gallery, flett relic, letter, flett letter, ticonderoga, henri worland

Possibly one of the Watson brothers? Note the red kerosene warning lantern sitting on the bluestone blocks. The EK Holden may have belonged to the Council employee who took the photos. Work is under way at the house one down from the bend where two piles of bluestone are gathered; possibly for terrace edging of the driveway and footpath. These images were from a strip of negatives, most likely taken by a Shire of Eltham employee so the works could have been part of council operations. Many streets in the shire have stonework edges for gardens abutting footpaths where the roads have been cut into the terrain. Much of this stone masonry work was undertaken for the council by C.J. Watson and Sons.Roll of medium format 120 6x6 black and white negative film, 1 stripbriar hill, c.j. watson and sons, mountainview road

Note the FX Holden ute with canopy and old motorcycle with side-car. These may have belonged to the Watson brothers (C.J. Watson’s sons) who undertook stone work for the Council. Work is under way at the house one down from the bend where two piles of bluestone are gathered; possibly for terrace edging of the driveway and footpath. These images were from a strip of negatives, most likely taken by a Shire of Eltham employee so the works could have been part of council operations. Many streets in the shire have stonework edges for gardens abutting footpaths where the roads have been cut into the terrain. Much of this stone masonry work was undertaken for the council by C.J. Watson and Sons.Roll of medium format 120 6x6 black and white negative film, 1 stripbriar hill, c.j. watson and sons, mountainview road, fx holden, side-car, motorcycles

This book of Illustrated Directions was produced for use with the Davis New High Arm Vertical Feed (VF) Sewing Machine. The first model of the High Arm was produced in 1881, and the ‘New’ model, Model 2 VF, was introduced from 1883 and continued at least until 1885, when the Model 3 VF was manufactured. Job Davis, an inventor, showed his Davis Sewing Machine to two brothers in Watertown. The brothers, John and Joseph Shaldon, who founded the Davis Sewing Machine Company in February 1868 in Watertown, New York. The firm moved to Ohio in the 1890. Its early sewing machines were known as the Vertical Feed machines. These machines differed from others, in that there were two presser feet that moved and held the cloth as the needle went in and out of it. This type of action was also called ‘walking foot’ by makers of similar machines. Other machines used a feed dog below the machine’s bed to move the fabric. The Davis Company was awarded a Patents for its improvement to sewing machines. London offices were set up at 54, Queen Victoria Street, London in 1982. It was known as the Vertical Feed Sewing Machine Company. An article published in March 1885 states that the London Manager of the Vertical Feed Sewing Machine Company has 300,000 machines world-wide, including 4,000 in England alone. It claimed that the Auxiliary Forces Uniform and Equipment Company in Limerick, Ireland, was running its machines with steam power and could produce first-class work at the rate of 1,500 stitches per minute. The hand stitched binding of the manual is an example of early book binding processes. The is significant for its relationship to the Davis New High Arm Vertical Feed sewing machine, which was invented in 1866 and became popular in the domestic market. It was also used in industrial conditions as a labour-saving machine, one of the many machines that were part of the Industrial Revolution when steam power replaced manual power in many factories. Paper book with stitched binding. Printed text and illustrations contained within the 42-page booklet. The manual includes drawn diagrams and instructions for use of the Davis New High Arm Vertical Feed Sewing Machine, a foot treadle machine made in the 1880s. Front cover: "ILLUSTRATED DIRECTIIONS for the NEW HIGH ARM DAVIS Vertical Feed Sewing Machine and its Accessories and Attachments"flagstaff hill maritime museum and village, great ocean road, shipwreck coast, sewing machine manual, davis sewing machine, new high arm sewing machine, model 2 vf, vertical feed, sewing machine instructions, sewing machine directions, job davis, john sheldon, joseph sheldon, high arm sewing machine, watertown, new york, vertical feed sewing machine company, treadle, steam sewing machine, auxiliary forces uniform and equipment company, limerick, ireland

The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) A tintype portrait of a woman's head, attached to a card.Printed lower left hand side of the card "American Studio, 324 Geo. St."tintype, american studio, woman, unidentified woman, women, photograph

The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, 6 Sturt St Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) .2) A tintype portrait of two girls heads, attached to a card. The girls are wearing a cloak with a large bow at the frontlittle gem, women, children, photography, tintype

The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) .3) A tintype portrait of a woman, attached to a card. little gem, tintype, woman, unidentified woman, women

The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) .4) A tintype portrait of a man, attached to a card. little gem, tintype, man, unidentified man

The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) A tintype portrait of a child, attached to a card. little gem, child, hat

The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) In 1863-4 A.Marion & Co. 23 Soho Square, London, were publishing cartes for Southwell Brothers of 16 & 22 Baker Street W. London, and in c.1866 producing cartes wholesale for Mayall of Regent Street. They appear to have printed numerous cards with a very small name printed onto the lower front. Travelling photographers would purchase the cards and sometimes have their own personlaised details printed onto the back..6) A tintype studio portrait of two seated men in suits, attached to a card, possibly brothers. On lower edge of card "marion Imp. Paris"little gem, tintype, photography

The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, 6 Sturt St Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) A tintype portrait of a woman's head, attached to a card. Printed on the lower edge of the card "Allen & Gove, American Studion, 6 Sturt St, Ballarat"ballarat, american studio, little gem, allen gove, tintype, woman, unidentified woman, photography

The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, 6 Sturt St Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) .8)A tintype portrait of a man's head, attached to a card. The cheeks have been hand coloured.little gem

The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, 6 Sturt St Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) .9) A tintype portrait of a woman's head, attached to a card. The cheeks have been hand coloured.little gem, woman, unidentified woman, women, photography

The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, 6 Sturt St Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) .9) A tintype portrait of a child's head and torso, attached to a card. The boy is wearing a suit and the cheeks have been hand coloured.little gem

The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, 6 Sturt St Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) A tintype portrait of a woman's head and shoulders, attached to a card. The cheeks have been hand coloured.little gem, woman, unidentified woman, women, photography

Charles Platt was born in New York in 1861 and died in 1933. He studied art at the National Academy of Design. In 1880, Charles went to Paris to study landscape painting and, while there, he travelled to Italy with his brother. Though he was influenced by Italian detailing, his designs were not copies of Italian gardens He was known as an architect and illustrator not as a garden designer. In 1880, he trained as an etcher with Stephen Parrish in Gloucester, Massachusetts. He also trained at the National Academy of Design and the Art Students League in New York and later in Paris with Gustave Boulanger and Jules Joseph Lefebvre at the Académie Julian. Charles exhibited his paintings and etchings and gained his first audience in Paris Salon of 1885. Betweem 1880 – 1890 , he made hundreds of etchings of architecture and landscapes. In 1900, Charles received a bronze medal at the Paris Exposition Universelle. In 1907 he designed a townhouse for Sara Delano Roosevelt on East 65th Street in New York. Eleanor Roosevelt called Charles A. Platt "an architect of great taste" who with the townhouse had "made the most of every inch of space." and in 1918, he de­si­gned the Freer Art Gal­lery in Wa­shing­ton. Book, Hard brown Cover. Title on the spine "The work of Charles A. Platt". Manufactural details on spine. Page no. 181. Black & white plates and plans. Stamped on page 43, 93, 123, 135, 161, 171"Picton Hopkins & Sons PTY.LTD"architecture design, domestic architecture, designs and plans, landscape gardening

Before Mt Tarawera erupted, the Pink and White Terraces at Lake Rotomahana in New Zealand’s North Island, were considered one of the wonders of the world. Tourists came to soak in the thermal hot pools and view the marble-like terraces. Due to a volcanic eruption of Mt Tarawera On June 10 1886, between 108-120 people were killed and several settlements were destroyed. It also destroyed the world-famous Pink and White Terraces. The terraces became a crater over 100 metres deep. Within 15 years it filled with water, forming a much larger new Lake Rotomahana. The chain of craters at Waimangu became the site of many new geothermal features, including Waimangu Geyser, the largest in the world, and New Zealand’s largest hot spring, Frying Pan Lake. The Burton brothers (photographers), Alfred Burton was born in 1834 in Leicester and died in 1914 in Dunedin. His brother Walter Burton was born in 1836 and died in 1880. Many of the Burton Brothers' works and original equipment were collected by Dunedin photographer and historian Hardwicke Knight, and are now housed in the Museum of New Zealand Te Papa Tongarewa in Wellington. This album was donated to the Ballarat School of Mines Museum by James Oddie in 1887. (See Cat. No. 458, No. 1720) Alfred Burton was born in 1834 at Leicester and died at Dunedun, New Zealand, in 1914. Walter Burton was born in 1836, and died in 1889. Large green album containing numerous B/W original photographs of New Zealand, especially volcanos. - Includes Pink and White Terraces (no longer in existance). Photos were taken before and after volcanic eruption. A recent inclusion is article on the terraces by Federation University's George Hook and Stephen Carey.Each photo has a caption.pink terrace, white terrace, new zealand, sumner, burton bros, rotokakahi wairoa, rotomahana crater, tikitapu bush, wanganui bridge, maori, canoe, volcano, mount tarawara, james oddie, ballarat school of mines museum, eruption, waterfall, bridge, sulphur pool, crater, mt tarawera, tikitapu lake, rananga house, wairoa, waikato, maori church wairoa, ganaru, taherepokiore, golden bay, paterson, dowling st dunedin, rocky hill, harison's cove, milford sound, tall ship, hydraulic mining, hale's arm, james oddie (donor), george hook, stephen carey, lake rotomahana

Dick Richards joined the Ballarat School of Mines in 1914, and soon afterwards was granted leave to join an expedition to Antartica. In 1915 he sailed from Australia with the Antartic Exploraton Expedition, led by Sir Ernest Shackleton. Most Antarctic enthusiasts know of Ernest Shackleton's attempt to cross the continent, only to be thwarted by the sinking of the ship 'Endurance'. Dick Richards was the physicist and sled manager for Shackleton's Ross Sea Party - with the task to meet Shackleton on the other side of the continent. When Shackleton planned his transcontinental crossing he decided to use supply depots as loads of supplies were too heavy to pull. The depots would enable Shackleton's party to carry just enough to reach the Pole, relying on the depots which were to be left by the Aurora's crew every 60 miles, stowed in 2 sledge journeys in 1915 and 1916. Dick Richards spent 3 freezing years in Antarctica between 1914 and 1917. Richards' worst experience was when his ship Aurora, tethered offshore, was blown away in a gale leaving Richards marooned for two years with nine other men on the ice floe. The expedition, consisting of two teams, were attempting to cross Antarctica from opposite sides, linking up somewhere near the middle. "That was with pretty poor equipment by today's standards, and we did not make it." (Dick Richards) The Ross Sea Party arrived in McMurdo Sound aboard the Aurora in January 1915. The men planned to make two sledging trips to leave supply depots every 60 nautical miles to Mount Hope about 400 miles away. The going was tough as the sledges were overloaded. Temperatures were as low as minus 68F. In June 1916 the party crossed on foot to Cape Evans, occupied Scott's Hut (from his Terra Nova Expedition, erected in January 1911) in May 1915, for two months. On 10 January 1917 Richards was hunting for seals when he saw a ship on the horizon. It was 'The Aurora'. Picking up the relieved survivors 'The Aurora' arrived in New Zealand on 9 February 1917 to a hero's welcome. Joyce, Wild, Hayward and Richards later won the Albert Medal for their heroic devotion to duty. Later an inlet on the Antartic continent was named after Richards. Dick Richards wrote the following years after the ordeal "To me no undertaking carried through to conclusion is for nothing. And so I don't think of our struggle as futile. It was something the human spirit accomplished." Prime Minister Bob Hawke wrote in 1984 'Your incredible journey of almost 2000 miles across the Antarctic Wastelands - involving some 9 months in the field with makeshift equipment - and you're adherence to duty in the face of enormous difficulty, suffering from scurvy, and the death of comrades, will; be an inspiration to your countrymen of the future as it is to us today." After returning to Australia Dick Richards resumed his work at SMB as Lecturer in Physics and Mathematics, and developed many pieces of experimental equipment. During World War Two he acted as a scientific adviser in the production of optical apparatus in Australia. In 1946 he was appointed Principal and twelve years later he retired after a total of 44 years service. Dick Richards has been honoured through the naming of a Ballarat School of Mines prize - The R.W. Richards Medal. This medal later became a University of Ballarat prize. It has been awarded annually since 1959 to the Bachelor of Applied Science graduate considered to have achieved the most outstanding academic performance of their course. (See http://guerin.ballarat.edu.au/aasp/is/library/collections/art_history/honour-roll/honourroll_Richards,Dick.shtml )A man and lady inspect a bust of Richard (Dick) Richards by sculptor Victor Greenhalgh. The scultpure is at the Ballarat School of Mines. The man is Dick Richards, and the woman is his sister and wife of sculptor Victor Greenhalgh. Both Dick Richards and Victor Greenhalgh were former students and teachers at the Ballarat School of Mines. The bust of Dick Richards was Victor Greenhalgh's last work and was cast in bronze after his death. The bust was presented to the Ballarat School of Mines by Mrs V.S. Greenhalgh (widow of the sculptor and sister of the subject). At the presentation Victor Greenhagh's son said "the two men had been friends as well as brothers-in-law, were of similar age, both enjoyed red wine, beer and cricket and both were educationalists, one an artist the other a mathematician."dick richards, r.w. richards, richards, richard w. richards, victor greenhalgh, bust, sculpture, ballarat school of mines, antarctica, ross shore

Catherine Holmes married William Coghill Junior. William died in 1884. This is possibly a photo of Catherine in her mourning clothes. They had no children. His estate passed to Catherine. In 1886 Catherine accompanied by her brother, Edward Carter Holmes, Mr. Holmes a farmer at Ascot and her companion Mrs. Mark Gardiner [Gardner], wife of the contractor for laying down the wood pavement in Elizabeth- street, sailed for Queensland aboard the elegant steamship, ‘Ly-ee-Moon’ to visit her sister Adelaide Reid and purchase a property in the Darling Downs, Qld. Tragically all three, and the gold sovereigns they were carrying to purchase same, were lost when the steamship struck rocks and was wrecked off the rugged Green Cape Coast, just south of Bega, New South Wales [Jane Dyer, 15 June 2024]Black and white photograph of a seated woman wearing black clothing, a cap with centrally parted hair. The woman is Catherine Coghill (formerly Holmes), who married William Coghill Jnr. catherine coghill, catherine holmes, william coghill, william coghill junior, holmes family collection, chatham-holmes family collection, ly-ee-moon, mourning, shipwreck, women, pioneer women, family history

The photograph was associated with Harry Holmes who was a member of the Australian Imperial Force based in Egypt at the time. Gordon Spittle was the youngest of Three brothers. He grew up in Creswick and attended Creswick Grammar School. Gordon purchased 'Mt Cavern' in 1912. It had 4 years of a 10 year lease to run. His mother and father took delivery of it on 1 April 1916. They lived there and farmed it until Gordon returned from active service in May 1919. He married Violet Holmes and both lived at "Mt Cavern" until their deaths. Gordon died in 1942 aged 51. Violet Holmes-Spittle dies in 1949 aged 56. Egypt was a major base for the AIF from December 1914. A number of campaigns were fought in this theatre. There were two campaigns involving the AIF. Note that not all the fighting was actually geographically in Egypt. (http://www.aif.adfa.edu.au:8888/about3.html)Four Australian soldiersVerso: 'Moascar, Egypt, June 14th '16. From left to right. S.G.S. [Gordon Spittle], Cam Williamson & Harry [Holmes]. Sitting is Private Berry a son of the big merchants in Melbourne. Am sending these negatives to Jim W. so if they arrive safely, you'll be able to get better proofs from him. From Gordon [Spittle].chatham family archive, chatham, holmes, world war, world war 1, world war i, world war one, moascar, egypt, suez canal, spittle, williamson, harry holmes, berry, egypt, moarcar

The photograph is associated with Harry Holmes and Gordon Spittle who were members of the Australian Imperial Force based in Egypt at the time. Egypt was a major base for the AIF from December 1914. A number of campaigns were fought in this theatre. There were two campaigns involving the AIF. Note that not all the fighting was actually geographically in Egypt. (http://www.aif.adfa.edu.au:8888/about3.html) Gordon Spittle was the youngest of Three brothers. He grew up in Creswick and attended Creswick Grammar School. Gordon purchased 'Mt Cavern' in 1912. It had 4 years of a 10 year lease to run. His mother and father took delivery of it on 1 April 1916. They lived there and farmed it until Gordon returned from active service in May 1919. He married Violet Holmes and both lived at "Mt Cavern" until their deaths. Gordon died in 1942 aged 51. Violet Holmes-Spittle dies in 1949 aged 56. Black and white postcard showing a statue in the middle of a townscape in Alexandria, Egypt. The monument is Mohamed Aly.Verso "Monument to Mohamed Aly which is erected in the square Alexandria. Gordon. 30/3/16chatham family archive, chatham, holmes, world war, world war 1, world war i, world war one, egypt, spittle, gordon spittle,

This is one of two cast brass nameplates of James & Alexander Brown in our collection. The Newcastle, NSW, firm was renowned for its coal mining and exporting business established in colonial Australia in 1843. The firm had an office in Melbourne and sold coal for commercial use and from the Wharf for the domestic market. The coal was then distributed along the southwest coast of Victoria in steamships or steam packets and into the regional areas of Victoria by cart and wagon. In 1890 there was a strike of coal workers but the Geelong Advertiser, September 1, 1890, announced that “a firm of coal merchants only recently received some large cargoes from Newcastle”. This supply of coal could have originated at the colliery of James & Alexander Brown. About James & Alexander Brown: - James (1816-1894), John (1823-1846) and Alexander Brown (1827-1877) migrated with their parents from Scotland to Sydney, Australia, in 1842. The next year James leased land and was assisted by his brothers Alexander and John in mining coal in the area near Maitland. The market was very competitive, with the government controlling prices. James was instrumental in a legal battle that resulted in the introduction of open competition for coal mining. James and Alexander had become business partners by 1852 and moved south of Newcastle where they established and worked a profitable mining enterprise. Their assets by 1857 included a ships’ chandlery, a fleet of steamships and an overseas trading business. They were the first firm to import rum, sugar and coffee into Newcastle. By 1892 they were exporting coal to New Zealand, China, North America, and various colonial ports. They had elaborate workshops to service their own steam engines and steamships. They were the first to use a steam collier vessel in Australian waters and they set up the second tug boat in Newcastle, the beginning of being owners of many more tug boats and performing a towing business. By 1868 James & Alexander Brown was the largest coal producer in the colony. James focused on managing the colliery and Alexander on overseas trade. It was estimated that the firm had produced over eight per cent of coal in New South Wales by 1914. James & Alexander Brown advertised in the Melbourne Herald in the early 1900s and kept an office at Queen Street, Melbourne as well as at the Wharf, stating their telephone numbers for both places. The coal was available for ‘Immediate Delivery’ for household and industrial purposes. The advertising claimed that their Pelaw Main coal was the famous household coal that met the highest test in Australia and burned bright and clean. Domestic customers could purchase the coal at the wharf or pay for delivery. Commercial customers could load their purchases into their steamships or wagons for further distribution into regional Victoria. After James’s death in 1894 his son John managed the firm, which was also known as J & A Brown. John passed away in 1930 and his sons took over. In 1931 the firm amalgamated with Abermain Seaham and the new name was J & A Brown & Abermain Seaham Collieries Ltd. commonly abbreviated to JABAS, which merged with Caledonian Collieries Ltd in 1960 and Coal & Allied Industries Ltd. was formed. The pair of nameplates is significant for its connection with the firm James & Alexander Brown. The firm was established in 1845 and became one of the largest collieries in colonial Australia. It was involved in trading within Australia and overseas. James was involved in the introduction of open competition for coal mining prices. They were the first to use a steam colliery in Australian waters and the first to import goods such as rum, sugar and coffee into New South Wales. The firm had a Melbourne office in the early 1900s, selling and distributing coal throughout Victoria, which likely included the Port of Warrnambool, which opened in 1890. The nameplates are likely to have originated from the Melbourne location.Brass Entrance Name Plate, one of a pair. Eight holes are formed through the plate; one in each corner, and four more holes are within the inscription area. The cast plate has three rows of text with the company’s name and type of business. The plate was owned by James & Alex. Brown. "JAMES & ALEXR. BROWN / COLLIERY PROPRIETORS / & STEAMSHIP OWNERS"flagstaff hill, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, nameplate, james & alexander brown, j & a brown, james & alexr brown, colliery proprietors, steamship owners, ship chandlers, coal mine, coal export, australian import, australian export, newcastle, colliers, coastal trade, steamships

This is one of two cast brass nameplates of James & Alexander Brown in our collection. The Newcastle, NSW, firm was renowned for its coal mining and exporting business established in colonial Australia in 1843. The firm had an office in Melbourne and sold coal for commercial use and from the Wharf for the domestic market. The coal was then distributed along the southwest coast of Victoria in steamships or steam packets and into the regional areas of Victoria by cart and wagon. In 1890 there was a strike of coal workers but the Geelong Advertiser, September 1, 1890, announced that “a firm of coal merchants only recently received some large cargoes from Newcastle”. This supply of coal could have originated at the colliery of James & Alexander Brown. About James & Alexander Brown: - James (1816-1894), John (1823-1846) and Alexander Brown (1827-1877) migrated with their parents from Scotland to Sydney, Australia, in 1842. The next year James leased land and was assisted by his brothers Alexander and John in mining coal in the area near Maitland. The market was very competitive, with the government controlling prices. James was instrumental in a legal battle that resulted in the introduction of open competition for coal mining. James and Alexander had become business partners by 1852 and moved south of Newcastle where they established and worked a profitable mining enterprise. Their assets by 1857 included a ships’ chandlery, a fleet of steamships and an overseas trading business. They were the first firm to import rum, sugar and coffee into Newcastle. By 1892 they were exporting coal to New Zealand, China, North America, and various colonial ports. They had elaborate workshops to service their own steam engines and steamships. They were the first to use a steam collier vessel in Australian waters and they set up the second tug boat in Newcastle, the beginning of being owners of many more tug boats and performing a towing business. By 1868 James & Alexander Brown was the largest coal producer in the colony. James focused on managing the colliery and Alexander on overseas trade. It was estimated that the firm had produced over eight per cent of coal in New South Wales by 1914. James & Alexander Brown advertised in the Melbourne Herald in the early 1900s and kept an office at Queen Street, Melbourne as well as at the Wharf, stating their telephone numbers for both places. The coal was available for ‘Immediate Delivery’ for household and industrial purposes. The advertising claimed that their Pelaw Main coal was the famous household coal that met the highest test in Australia and burned bright and clean. Domestic customers could purchase the coal at the wharf or pay for delivery. Commercial customers could load their purchases into their steamships or wagons for further distribution into regional Victoria. After James’s death in 1894 his son John managed the firm, which was also known as J & A Brown. John passed away in 1930 and his sons took over. In 1931 the firm amalgamated with Abermain Seaham and the new name was J & A Brown & Abermain Seaham Collieries Ltd. commonly abbreviated to JABAS, which merged with Caledonian Collieries Ltd in 1960 and Coal & Allied Industries Ltd. was formed. The pair of nameplates is significant for its connection with the firm James & Alexander Brown. The firm was established in 1845 and became one of the largest collieries in colonial Australia. It was involved in trading within Australia and overseas. James was involved in the introduction of open competition for coal mining prices. They were the first to use a steam colliery in Australian waters and the first to import goods such as rum, sugar and coffee into New South Wales. The firm had a Melbourne office in the early 1900s, selling and distributing coal throughout Victoria, which likely included the Port of Warrnambool, which opened in 1890. The nameplates are likely to have originated from the Melbourne location.Brass Entrance Name Plate, one of a pair. Eight holes are formed through the plate; one in each corner, and four more holes are within the inscription area. The cast plate has three rows of text with the company’s name and type of business. The plate was owned by James & Alex. Brown. "JAMES & ALEXR. BROWN / COLLIERY PROPRIETORS / & STEAMSHIP OWNERS"flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, nameplate, james & alexander brown, j & a brown, james & alexr brown, colliery proprietors, steamship owners, ship chandlers, coal mine, coal export, australian import, australian export, newcastle, colliers, coastal trade, steamships

Ballarat School of Mines Students' Magazine was a Students' Association magazine. The president was G.N. Hart and the 1964 editors were Kelvin Whitford and Armand Krastins. The cover was designed by Colin Jellet. Advertising was obtained by Jon McDonald and Peter Smith. Active collaborators were John Costa, Ken Delany, Roger Lonsdale, John Byrne and Bobby Ong Gim Sen. Harry Arblaster retired in 1964 as the Principal of the Ballarat School of Mines, and E.J. Barker was appointed in his place. The Vice-Principal was H.J. TrudingerYellow/orange soft covered book of 96 pages. Articles include: Initiation, The creative Personality, Folk Singing by the Miners, SMB Silent Movies Inc., Red Roar and the Commie Threat, Paleopyrology, Conventional Wisdom, B-Day, The Malaysian Student in Australia, Moral Heresy, Sport, The Past and the Future?, The Possibility of Fusion Power, School Council, Members of Staff, list of full time diploma students. Those who had diplomas conferred were listed, as were the prize winners. Snippets: D.M. Pollard won the R.W. Richards Medal; John Costa was SRC Secretary, Jon McDonald was SRC President Images are named and include student activities Advertisement include: Ronaldson Brothers and Tippett; Electrolytic Zinc Company, Myers, Mount Isa Mines, Austaluco Aluminium, Owen's of Ballarat, Alexandria Tea Rooms, Roy Brack's Men's Wear, Lamanz, A.J. William Electrical Instruments, H.B. Selby, M.G. Taylor, T.J. Coutts, Ballaarat Gas Company, H.A. Davis Motor Service, Henderson-Palmer, Coca-Cola, Philps Electrical Industries, the Wattle, Eclipse Motors, BHP, M.B. John & Hattersley, Sheffield's Record Bar, Andrew Gault, Tait Book Company, Broken Hill Associated Smelters, Ballarat Colour Centre, Morsheads, Commonwealth Aircraft Corporation, J.J. Mortimer, Ewins, Gallery 321, J.A. Hoskinballarat school of mines, students' association, ray windmill, kelvin whitford, jennifer boyd, malcolm park, jutta bacsak, noel brady, gloria medlyn, ken felstead, jan butterworth, wayne collins, diana berry, lora richter, arblaster, stephen drew, judi woodward, michael moissinac, marilyn barclay, jon mcdonald, gloria roberts, ratnam nachiappan, jeni milbourne, daila berzins, bernard livingston, trudinger, barker, ballarat asian students' association, margaret leong, yew har ong, william cheng, elen leong, joan wright, poh teck shen, kristine goodier, kok fong ho, robert grub, tan joo lim, eric mcgrath award, kevin whitford, ronaldson brothers and tippett, electrolytic zinc company, myers, mount isa mines, austaluco aluminium, owen's of ballarat, alexandria tea rooms, roy brack's men's wear, lamanz, a.j. william electrical instruments, h.b. selby, m.g. taylor, t.j. coutts, ballaarat gas company, h.a. davis motor service, henderson-palmer, coca-cola, philps electrical industries, the wattle, eclipse motors, bhp, m.b. john & hattersley, sheffield's record bar, andrew gault, tait book company, broken hill associated smelters, ballarat colour centre, morsheads, commonwealth aircraft corporation, j.j. mortimer, ewins, gallery 321, j.a. hoskin

Francis Davis was the only former student of the Ballarat Junior Technical School to die during World War One. "Francis Davis was accorded a full military funeral, firing party, bugler and pallbearers. The coffin was draped in the Union Jack and surmounted in several beautiful wreathes sent from his brother 2/A.M. E.H. Davis (A.F.C Leighterton), officer of the A.F.C. Leighterton, Gloucester, Cadets of A.F.C. and many other personal friends of the deceased. The "Last Post" was sounded at the graveside, and the Rev. Major K.D. Norman C. of E. A.I.F. officiated. The grave was to be turfed and an oak cross erected by the A.I.F. London. Administrative Headquarters A.I.F. London were represented at the funeral. (http://naa12.naa.gov.au/scripts/Imagine.asp?B=1858392, accessed 24 January 2014.) According to Neil Leckie, Manager of the Ballarat Ranger Military Museum: * Originally 12 – 14 year olds went to Junior Cadets attached to their school. * From age 14 – 17 they were Senior Cadets attached to the local militia unit. * After 1 July of the year a Cadet turned 18, the Cadet left the Senior Cadets and became a member of the Citizen Military Force. * In October 1918 the AIF, Militia and Cadets were renamed to give some connection to the AIF battalion raised in the area. Ballarat saw: 8th Australian Infantry Regiment comprising: * 8th Battalion AIF renamed 1st Battalion 8th Australian Infantry Regiment * 70th Infantry Militia renamed 2nd Battalion 8th Australian Infantry Regiment * 70th Infantry Cadets renamed 3rd B, 8th Australian Infantry. 39th Australian Infantry Regiment comprising: * 39th Battalion AIF renamed 1st Battalion 39th Australian Regiment * 71st Infantry Militia renamed 2nd Bn, 39th Australian Infantry Regiment * 71st Infantry Cadets renamed 3rd Bn, 39th Australian Infantry Regiment Prior to the reorganisation in 1918 the 18th Brigade was the 70th, 71st and 73rd Infantry. It is thought that the 18th Brigade Cadet units in 1920 were those that came from the old: * 69th Infantry (Geelong/Queenscliff) * 70th Infantry (Ballarat/Colac) * 71st Infantry (Ballarat West) * 72nd Infantry Warrnambool) * 73rd Infantry (NW Vic) The next name change came in 1921!Black and white photograph of a group of school boys in army uniform. They are members of the Ballarat Junior Technical School Cadets. Back Row: D.O. Taylor, Albert E. Williams, B. Burrows, J.B. Hobba Standing: Francis Davis, Miller, A. Burge, P. [Peter] Chatham. J. Minster, H. Witter, H. Siemering Kneeling: T.G. Wasley, Alan Riley, A.H. Hoskin. N.C. Carmichael, Harold G. Wakeling, T. Rees, W.H. Shattock, F.N. Gibbs Front: S.J. Chambers, F.J. Procter, Charles H. Beanland francis davis, frank davis, ballarat junior technical school cadets, cadets, d.o. taylor, albert e. williams, b. burrows, j.b. hobba, miller, a. burge, p. chatham, j. minster, h. witter, h. siemering, t.g. wasley, a. riley, a.h. hoskin, n.c. carmichael, harold wakeling, t. rees, w.h. shattock, f.n. gibbs, s.j. chambers, f.j. procter, charles h. beanland, alan riley

Francis Gordon Davis was born in Ballarat on 09 August 1899. He is the only former student of the Ballarat Junior Technical School who was killed on service during World War One. Davis enlisted into the Australian Flying Corps, Laverton, on 12 April 1918 at which time he was 18 and 8 months and served as a second class Air Mechanic. His service number was 3310. He died accidentally from shock resulting from an accident resulting from skidding a Leyland Motor Lorry at Leighterton, Tetbury, Gloucester, England on 28 January 1919 and is buried in Grave 6 in the Soldiers Corner of the Leighterton Cemetery. Francis Davis was accorded a full military funeral, firing party, bugler and pallbearers. The coffin was draped in the Union Jack and surmounted in several beautiful wreathes sent from his brother 2/A.M. E.H. Davis (A.F.C Leighterton), officer of the A.F.C. Leighterton, Gloucester, Cadets of A.F.C. and many other personal friends of the deceased. The "Last Post" was sounded at the graveside, and the Rev. Major K.D. Norman C. of E. A.I.F. officiated. The grave was to be turfed and an oak cross erected by the A.I.F. London. Administrative Headquarters A.I.F. London were represented at the funeral. (http://bih/index.php/Francis_G._Davis) In June 1922 Alfred Davis, the father of Francis Davis, planted a tree in the grounds of the Ballarat Junior Technical School in honour of hos son. It was the first tree of six planted in the grounds of the Ballarat School of Mines on Arbor Day 1922. Speaking of the planting of the tree by Mr Davis the Chief Secretary (Mr M. Baird M.L.A.), said he trusted the memory would ever remain green at the school. Had he and others not given their lives nothing that we could have done to-day could have retrieved the time. Australians had indeed done splendidly, but they should take a wider outlook than Australia, and reading the history of the Genoa Conference he had been struck by what had been done ... We should honor such men as he in whose memory that tree was planted, and the schools that sent them out to fight for us. He hoped the empire would always be able to produce such men, so that the Empire would always be able to lead the World's struggle for the benefit of humanity. The last post was then sounded by Mr. H. Green. ... (Ballarat Courier, 19 June 1922)A number of photographs of a tree and marble plaque in the grounds of the Ballarat School of Mines. It was a memorial to Francis Davis, a former student of the Ballarat Junior Technical School, who died on active service during World War One.ballarat school of mines, ballarat junior secondary school, world war one, memorial, marble plaque, marble memorial, tree, memorial tree, davis, francis davis