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 Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s.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) .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) 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) .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

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) .5) A tintype portrait of a child, attached to a card. little gem, photography, child, portrait

George Bird was born in England in 1845 and arrived in Australia in 1856 as a child of assisted migrants. Soon afterwards he came out to Eltham to live with his uncle George Stebbings, working for him as bricklayer's assistant in building, amongst others, Shillinglaw Cottage and the Anglican and Methodist Churches in Eltham. He later purchased 72 acres at the eastern end of Pitt Street (bounded by Eucalyptus Road, Mount Pleasant Road and present-day Rockliffe Street) and established the property ‘View Hill’, which was worked as a mixed farm and orchard (including berries). In 1878 he married Janet Kilpatrick, who had emigrated from Scotland. They had ten children, three of whom died in infancy. The wedding in 1904 of their eldest surviving daughter Sarah (‘Sis’) to Edward Pepper appears to have been quite a society event. George was a staunch Methodist and was a Church Steward and a Sunday School Superintendent in about 1890. Janet died in 1915 and George died in 1920 (though his gravestone says 1921). George's will stated that his property was to be divided between all his children in equal shares. This necessitated subdivision of the View Hill property, which took place progressively between 1922 and 1926. One son, George Hugh Bird, operated a drapery store in Main Road (near Bridge Street) in around 1915. Later, in the 1920s, he ran a greengrocer's shop (also selling confectionery) in Main Road opposite Eltham Station. It was the first shop in Eltham to have plate glass windows. At the same time, his brother Reg had a grocery store on the station side of Main Road. George and Janet are buried together in a family plot in Eltham Cemetery. Several descendants are also buried in the cemetery. In Loving Memory Of George Bird Died 5 December 1921 aged 76 years And his beloved wife Janet Bird Died 5 Sept 1915 aged 57 years Also their children William James Bird Died 25 Feb 1888 aged 8 years Mary Jane Bird Died 8 Oct 1891 aged 7 years Pte Edwin John Bird Killed in action in the Great War 11 Aug 1918 aged 30 years Buried in France And on the base stone George Hugh Bird Died 26 Feb. 1965. Aged 79 years Arthur Andrew Bird Died 25 Mar. 1970 Aged 75 years To the left In Loving Memory of Dr. J. R. (Roger) Bird 1927 2001 Son of Arthur & Helen (nee Lyon) Bird Husband of Betty Father of Janet & Alison Grandpa of Evan & Helen Scientist & Gentleman To the right In Loving Memory of Harold Edwin Bird OAM 1922 - 2015 Son of Arthur & Helen (nee Lyon) Bird Husband of Yvonne Father of Estell & Russell In our hearts Forever moreBorn Digitaleltham cemetery, gravestones, arthur andrew bird, arthur bird, edwin john bird, george bird, george hugh bird, harold edwin bird, helen bird (nee lyon), j. r. (roger) bird, janet bird (nee kilpatrick), william james bird, yvonne bird

George Bird was born in England in 1845 and arrived in Australia in 1856 as a child of assisted migrants. Soon afterwards he came out to Eltham to live with his uncle George Stebbings, working for him as bricklayer's assistant in building, amongst others, Shillinglaw Cottage and the Anglican and Methodist Churches in Eltham. He later purchased 72 acres at the eastern end of Pitt Street (bounded by Eucalyptus Road, Mount Pleasant Road and present-day Rockliffe Street) and established the property ‘View Hill’, which was worked as a mixed farm and orchard (including berries). In 1878 he married Janet Kilpatrick, who had emigrated from Scotland. They had ten children, three of whom died in infancy. The wedding in 1904 of their eldest surviving daughter Sarah (‘Sis’) to Edward Pepper appears to have been quite a society event. George was a staunch Methodist and was a Church Steward and a Sunday School Superintendent in about 1890. Janet died in 1915 and George died in 1920 (though his gravestone says 1921). George's will stated that his property was to be divided between all his children in equal shares. This necessitated subdivision of the View Hill property, which took place progressively between 1922 and 1926. One son, George Hugh Bird, operated a drapery store in Main Road (near Bridge Street) in around 1915. Later, in the 1920s, he ran a greengrocer's shop (also selling confectionery) in Main Road opposite Eltham Station. It was the first shop in Eltham to have plate glass windows. At the same time, his brother Reg had a grocery store on the station side of Main Road. George and Janet are buried together in a family plot in Eltham Cemetery. Several descendants are also buried in the cemetery. In Loving Memory Of George Bird Died 5 December 1921 aged 76 years And his beloved wife Janet Bird Died 5 Sept 1915 aged 57 years Also their children William James Bird Died 25 Feb 1888 aged 8 years Mary Jane Bird Died 8 Oct 1891 aged 7 years Pte Edwin John Bird Killed in action in the Great War 11 Aug 1918 aged 30 years Buried in France And on the base stone George Hugh Bird Died 26 Feb. 1965. Aged 79 years Arthur Andrew Bird Died 25 Mar. 1970 Aged 75 years To the left In Loving Memory of Dr. J. R. (Roger) Bird 1927 2001 Son of Arthur & Helen (nee Lyon) Bird Husband of Betty Father of Janet & Alison Grandpa of Evan & Helen Scientist & Gentleman To the right In Loving Memory of Harold Edwin Bird OAM 1922 - 2015 Son of Arthur & Helen (nee Lyon) Bird Husband of Yvonne Father of Estell & Russell In our hearts Forever moreeltham cemetery, gravestones, memorials, arthur andrew bird, arthur bird, edwin john bird, george bird, george hugh bird, harold edwin bird, helen bird (nee lyon), j. r. (roger) bird, j.r. (roger) bird, janet bird, janet bird (nee kilpatrick), william james bird, yvonne bird

George Tibbits, University of Melbourne. Faculty of Architecture, Building and Town & Regional PlanningIndex system that support the research for Beechworth : historical reconstruction / [by] George Tibbits ... [et al]Arranged by street names of BeechworthEach index card includes: street name and number of property, image of property, allotment and section number, property owners and dates of ownership, description of the property according to rate records, property floor plan with dimensions.beechworth, george tibbitsbeechworth, george tibbits

George Tibbits, University of Melbourne. Faculty of Architecture, Building and Town & Regional PlanningIndex system that support the research for Beechworth : historical reconstruction / [by] George Tibbits ... [et al]Arranged by street names of BeechworthEach index card includes: street name and number of property, image of property, allotment and section number, property owners and dates of ownership, description of the property according to rate records, property floor plan with dimensions.beechworth, george tibbitsbeechworth, george tibbits

George Tibbits, University of Melbourne. Faculty of Architecture, Building and Town & Regional PlanningIndex system that support the research for Beechworth : historical reconstruction / [by] George Tibbits ... [et al]Arranged by street names of BeechworthEach index card includes: street name and number of property, image of property, allotment and section number, property owners and dates of ownership, description of the property according to rate records, property floor plan with dimensions.beechworth, george tibbitsbeechworth, george tibbits

George Tibbits, University of Melbourne. Faculty of Architecture, Building and Town & Regional PlanningIndex system that support the research for Beechworth : historical reconstruction / [by] George Tibbits ... [et al]Arranged by street names of BeechworthEach index card includes: street name and number of property, image of property, allotment and section number, property owners and dates of ownership, description of the property according to rate records, property floor plan with dimensions.beechworth, george tibbitsbeechworth, george tibbits

Property - Ford Street, Beechworth - Section 2, Town Allotments 4 - 100' x 250' - Note: (see also Town Allotment 5, 2-4/5-1, 2-4/5-2, 2-4/5-3 and 2-4/5-4) Ownership details and history - 28 Oct 1853 - W.H. Neuber 2-4+5 - 1861 - Wallace, Peter, unlisted, J.A. Wallace, I. 105'x165' Hotel 86'x21', 2 Stories WB. sh. rf. Dp. 84'x18' do----do. Theatre 75'x26' do. Office 18'x20' do, Billiard room 35'x22' sl. & sh. rf. Kitchen 45'x25' slabs, Back Bldg. 22'x15' do. Stables 60'6"x 20'6" do. 2-4 - 1861 - Hearn, William, unlisted, J. Gray, land 13'6"x25' shop 13'6"x25' plate glass fr. WB. + sh. rf. 2-4+5 - 1863/4 - Clark, J.S. Publican, same, land 105'x165' Hotel & bedrooms 105'x18', 2 stories WB. + sh. rf. Store at back 10'x24' Stables, slabs, battenwork, + sh. 113'x26' Kitchen 45'x25' slabs + bark rf. Store 14'x9' WB + bark, Ldry 11'x10' WB + sh. Theatre 75'x26' WB + sh. 2-4 - 1863/4 - Richter, A. Mrs Gray, bld 13'6"x25' shop as above 2-5 - 1866 - Brown, John, barber, J.S. Clark, shop + back rooms, 18'x16' part "Star Hotel Bldgs" £55 2-4 + 5 - 1866 - Clark, John Sitch, publican, same. land 105'x165' "Star Hotel" 61'x41' 2 stories bk bldg + sh. rf. Bedrooms from front along "Star Lane" 105'x18' 2 stories WB + sh. rf. In rear store 24'x10' slabs + sh. rf. Kitchen 45'x25' slabs + bark rf. Ldry 11'x10' WB + sh. Store 14'x9' W.B. + bark rf. £330 2-4 - 1866 Clark, J.S. Publican, same, 'Theatre" 75'x26' WB + sh. roof £70 2-4 + 5 - 1866 Crawford, Hiram Allen - also 16-17, Connolly, Michael, coach owners, J.S. Clark "Star" stables 120'x26' slabs trellis work & sh. rf. £30 2-4 - 1866 - Richter, Augustus, Watchmaker, William Telford, land + Prem as 1861 £52 no entry - 1871 - Isaacs, Alfred, Clothier, J.S. Clark, shop 18'x18'. part of Star Hotel Buildings 2-4 + 5 - 1871 - Clark, J.S. Publican, same hotel as 1866 £300 no entry - 1871 - Clark, J.S. Publican, same, coach office 14'x12' part of old Star Theatre £20 no entry - 1871 - Brasch, Morris, Clothier, J.S. Clark, shop 14'6'x50' part of old Star Theatre, £65 2-4 + 5 - 1871 - Clark, J.S. Publican, same, Stables 120'x26' slabs + sh. roof. £26 2-4 - Richter, A. Watchmaker, Wm. Telford, land + prem as 1861 £45 no entry - 1876 - Issacs, Alfred, tailor, F.K. Allen, shop and dwelling, part of Star Hotel Bldgs, £40 2-4 + 5 - 1876 - Allen, Frederick K. Hotelkeeper, same. land + hotel as 1866 + coach office part of old Theatre £160 2-5 - 1876 - Crawford, H.A. - Connolly, M. Coach Proprietors, F.K. Allen stables, 120'x26' slabs + sh. roof £78 no entry - 1876 - Galbraith, Andrew L. Confectioner, F.K. Allen, double shop 15'x50' part of old Star Theatre £65 no entry - 1876 - Richter, Augustus, Watchmaker, W. Telford, J.G. Orr. land + prem as 1861 £40 no entry - 1884 - O'Connor, David M. Hairdresser, shop + prem, portion of Hotel Bldg 2-4 + 5 - 1884 - Allen, F.K. Publican, same "Star Hotel" 2-4 - 1884 - William, Robert, Bootmaker, F.K. Allen - double shop 2-4 - 1889 - Crawford, Connolly & McCurdy, Coach Proprietors, F.K. Allen, Star Stables, Sheds + Land £60 2-4 - 1889 - Dunn, Fred, Bootmaker, F. Allen, shop, prem + land £15 2-4 + 5 - 1889 - Carroll, Wm. Hotelkeeper, F. Allen, Star Hotel. prem + land £135 2-4 - 1889 - Williams, Robert, Bootmaker, F. Allen, double shop + prem + land £40 2-4 - 1900 - Philips, William R. Blacksmith, Wm. Carroll, Star Stables and land £25 2-4 - 1900 - _unoccupied) , William Carroll, land £5 2-4 + 5 - 1900 - Lowe, John, Hotelkeeper, Wm. Carroll, Star Hotel premises £130 2-4 - 1900 - Vandenberg, George, Dentist, H. Vandenberg, surgery + land £10 2-4 - 1906 - Lod, Wm. G. Star Lane, Blacksmith, execs. W. Carroll, Star Stables and land £20 2-4 - 1906 - Dumbrell, Starr & Jarvis, Watchmakers, execs. W. Carroll, shop + land £40 2-4 + 5 - 1906 - Lowe, John. Hotelkeeper, W. Carroll execs. of Star Hotel and land £130 2-4 - 1906 - Vandenberg, Henry, not tenant issued, land £10 Note: execs. = executors 2-4 and 5 - 1976 2-4/5-1 - R. Rosen - Men's Hairdresser 2-4/5-2 - Star Youth Hostel 2-4/5-3 - G. Fendyk, Butcher 2-4/5-4 - Vacant Store Architectural Index Card - Brian Pump and Tony Dugan - Photographers beechworth, george tibbits

George Tibbits, University of Melbourne. Faculty of Architecture, Building and Town & Regional PlanningIndex system that support the research for Beechworth : historical reconstruction / [by] George Tibbits ... [et al]Arranged by street names of BeechworthEach index card includes: street name and number of property, image of property, allotment and section number, property owners and dates of ownership, description of the property according to rate records, property floor plan with dimensions.beechworth, george tibbitsbeechworth, george tibbits

This preserving jar was used in the first half of the 20th century to preserve cooked food - pickles. Preserving home produce in bottles is a method that applies heat to food in a closed glass home canning jar to stop the natural spoilage that would otherwise take place. It removes air from the jar to create a seal. he bottling process forms an air tight seal between the bottle and the lid. Residents of Orbost have long been self sufficient growing their own fruit and vegetables with earlier market gardeners They preserved their produce for use all year. Fowlers Vacola preserving kits were common in most kitchens.A brown glass Fowler's Vacola preserving jar filled with pickles. It is a No. 27 bottle with a size 3 metal clip. It has an 850ml capacity. The lid has metal tension clips which are secured during the canning process and are removed once a vacuum seal has formed. The lid is tin-plated with a lacquer coating, double-coated on the underside.On lid Fowlers Vacola Size 3 Top of jar- embossed with the words Fowlers Vacola food-preservation fowlers-vacola container-glass

A cruet also known as a caster, is a small container to hold condiments such as oil, vinegar, mustard, pepper. Its shape and adornments will depend on the specific condiment for which it is designed. Cruets were made in silver, silver plate, ceramic and glass, and sometimes a combination of two materials, usually as a glass body with a silver or silver plated top.This item is an example of domestic tableware commonly used in the early t0 mid 20th century.An early Sheffield plate stand with four glass decanters. Two with silver lids and two with glass stoppers. Tray has very ornate design.cruet domestic table-setting sheffiels ashberry-philip

The postcard depicts a large grandstand with spectators attending a race meeting in Baarmutha Park, Beechworth. The crowd is made up of many young men, women and children. There is one horse with a jockey captured in movement. The postcard is historically significant as it illustrates how Barrmutha Park was used at this time. The record's historical significance is enhanced by its strong relationship to the popular, continuing tradition of horse racing within Victoria (vis-a-vis Melbourne Cup, W.S. Cox Plate, Caulfield Cup). More broadly, it provides insight into the type of sport and entertainment valued by local residents.Sepia rectangular postcard printed on card.Reverse: POST / CARD / 51 / THE ADDRESS TO BE WRITTEN ON THIS SIDE / Race Meeting Baarmutha Park / 19/4/06 / Beechworth / Please give enclosed to Meg with my love. / You may be able to recognise a few people / on this with the aid of a glass. / Jell Mother + Father I am looking after / the family very well + all are behaving / themselves. Hope to see you over here very soon / but am afraid we will have to get a glass to / be able to see you if Meg / is so big as she is cracked to / be. Good-night. (?) /entertainment album, baarmutha park, beechworth, race meeting, horse race, horse racing, recreation, sport

The barometer was either made or sold by T. Gaunt & Co. of Melbourne, a manufacturer, importer and retailer of a wide variety of goods including jewellery, clocks and watches, navigational and measuring instruments, dinnerware, glassware and ornaments. Thomas Gaunt photograph was included in an album of security identity portraits of members of the Victorian Court, Centennial International Exhibition, Melbourne, 1888. (See below for further details.) Admiral Fitzroy Pattern Barometer History: The stick mercury barometer was named after Admiral Robert Fitzroy of the Royal Navy (1805-1865) for his detailed instructions on how to interpret the weather, which were included with the instrument. Fitzroy was the captain of the HMS Beagle, also a weather forecaster to Charles Darwin and the second Governor of New Zealand. He developed many different types of barometers and was the first person to introduce the science of weather forecasting to the British Isles. A local manufacturer of scientific instruments, Thomas Gaunt, produced the barometer that was adapted for the southern hemisphere by Robert Ellery, the State Astronomer based at the Melbourne Observatory. In the original sale catalogue for Gaunt's, the item is described as "Gaunt's Fitzroy Barometers" and it was priced from 25/- to ₤9.9s. History of Thomas Gaunt: Thomas Gaunt established Melbourne's leading watchmaking, optical and jewellery business during the second half of the 19th century. Gaunt arrived in Melbourne in 1852, and by 1858 had established his own business at 14 Little Bourke Street. Around 1869 he moved to new premises in Bourke Street on the corner of Royal Arcade. Gaunt's shop quickly became a Melbourne institution. Gaunt proudly advertised that he was 'The only watch manufacturer in the Australian colonies'. While many watches and clocks may have had Gaunt's name on the dial, few would have been made locally. Gaunt did make some watches for exhibitions, and perhaps a few expensive watches for wealthy individuals. Gaunt's received a telegraph signal from Melbourne Observatory each day to correct his main clock and used this signal to rate and repair ship's chronometers and good quality watches. His main horological manufacturing was directed at turret clocks for town halls, churches and post offices. These tended to be specific commissions requiring individualised design and construction. He made the clock for the Melbourne Post Office lobby, to a design by Government Astronomer Robert Ellery, and won an award at the 1880-81 Melbourne International Exhibition for his turret clock for the Emerald Hill Town Hall. He became well known for his installation of a chronograph at Flemington Racecourse in 1876, which showed the time for the race, accurate to a quarter of a second. The firm also installed the clockwork and figures for Gog and Magog in the Royal Arcade. Thomas Gaunt also developed a department that focused on scientific instrumentation, making thermometers and barometers (from imported glass tubes), telescopes, surveying instruments and microscopes. Another department specialised in electroplating for trophies, awards and silverware, and the firm manufactured large amounts of ecclesiastical gold ware and silverware, for the church including St Patrick's Cathedral. There are no records that disclose the number of employees in the firm, but it was large enough for Gaunt to hold an annual picnic for the watchmakers and apprentices at Mordialloc from 1876; two years previously they had successfully lobbied Gaunt to win the eight hour day. Gaunt's workforce was reportedly very stable, with many workers remaining in the business for 15 to 30 years. Gaunt's wife Jane died on September 1894, aged 64. They had one son and six daughters, but only three daughters survived to adulthood. Two became nuns at the Abbotsford Convent and one daughter, Cecelia Mary Gaunt (died 28 July 1941), married William Stanislaus Spillane on 22 September 1886 and had a large family. Gaunt died at his home in Coburg, Victoria, leaving an estate valued at ₤41,453. The business continued as T. Gaunt & Co. after his death. The barometer is historically significant as an example of the work of Melbourne’s leading scientific instrument maker, Thomas Gaunt. The barometer has social significance as an example of the type of scientific equipment that Thomas Gaunt expanded his horology business into producing. Further social significance lies in the fact that Robert Ellery, the Government Astronomer who designed the local version of the barometer, had a direct connection with the Melbourne Athenaeum founded in 1839 as the Melbourne Mechanics' Institution. Its purpose was "the diffusion of literary, scientific and other useful information". There are also records of a T Gaunt as a subscription and committee member of this the Athenaeum organisation during the 1870s and 1880s which may be Thomas Gaunt, unfortunately still unverified.Stick mercury barometer known as the Admiral Fitzroy Barometer. It comprises an oblong wooden case with glass front panel, ornate pediment, barometer with bulb cistern (empty of fluid), cleaning brush with printed instructions for interpreting information given by the gauge affixed to left and right face of instrument. Includes a thermometer. The barometer appears to be intact. Adapted to the Southern Hemisphere. Special remarks by Admiral Fitzroy. Made by Thomas Gaunt, Melbourne. Manufacturer's details are on back of wooden casing. Rear has upper and lower brass screw plates for securing to vertical surface."Manufactured by Thomas Gaunt, 14 Little Bourke Street, Melbourne. "flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, barometer, admiral fitzroy, thomas gaunt, thomas gaunt of melbourne, clockmaker, admiral fitzroy barometer, barometer instructions, gaunt’s fitzroy barometer, gaunt’s of melbourne, gog and magog designer, horological manufacturer, meteorological instrument, melbourne athenaeum, melbourne mechanics' institution, melbourne observatory time signal, robert ellery government astronomer, scientific instrument, stick mercury barometer, thermometer, weather forecast, t gaunt & co

Breakwater navigation lights are placed at the end of the breakwaters to warn incoming vessels of the end of the structure, as a marine safety measure. The subject item was such a light believed to have been placed at the end of Warrnambool's breakwater around 1915 when it was extended. The light had remained in place for many years until it was probably removed when the structure was undergoing rock armouring repairs to the end of the breakwater in 1975. The light had been placed in a council storage shed probably from the time when the structure was undergoing these repairs in 1975. In 2014 the light was removed from the storage shed and donated to Flagstaff Hill museum. History: Warrnambool breakwater plans were drawn up by 1874 and approval was given for preliminary construction work to start but when the money ran out, the works stopped. With a number of quick changes of government the “Warrnambool” breakwater project was kicked from one Victorian state government to another. Then finally in 1879, the eminent British harbour engineer Sir John Coode was asked to design a breakwater. His first design was for a 1800 feet long structure but that was scaled back to 900 feet and construction finally began in 1884. This structure was attributed in causing major siltation of Lady bay, as a consequence the breakwater was again extended in 1915. In 1975, the rock armouring at the end of the breakwater was added but by 1979 another impact study was calling for the breakwater to be removed altogether. The Heritage Council Victoria, regard the Warrnambool breakwater is of historical significance to the state as one of the most important maritime engineering projects that was undertaken in Victoria during the late nineteenth century. The light is also as part of this structure regarded as a significant item of historical interest.Marker light or navigation light. Round light stand with conical top piece (2 separate pieces). Metal base painted red, clear glass middle section enclosed by metal frame, metal cone shaped top section painted silver. Electrical wiring can be seen inside centre section. Pole that light would have been on to elevate it is missing.Has metal plate screwed onto side of base engraved "23". flagstaff hill, warrnambool, shipreck coast, flagstaff hill maritime museum, maritime museum, great ocean road, warrnambool breakwater, marker light, naviagtion light, breakwater navigation light

This apothecary weights set was supplied by the company 'H B Silberberg & Company, Melbourne.' The company used this name in Melbourne from 1903-1917, then changed their name to “H.B. Selby & Company”. The firm specialised in the manufacture, import and supply of scientific instruments, laboratory apparatus, chemicals and industrial equipment. It was founded in Melbourne around 1889 by Carl de Beer and traded under the name of his brother Ernest de Beer and Company. Herbert B Silberberg joined the de Beer partnership in 1903 and, later in the same year, bought the de Beers’ shares in the business. Silberberg carried on as de Beer, Silberberg & Company for four months, after which he changed the name to H B Silberberg & Company. (Australian National University Archives; H B Selby and Company Proprietary Limited) This apothecary weights set was donated to Flagstaff Hill Maritime Village by the family of Doctor William Roy Angus, Surgeon and Oculist. It is part of the “W.R. Angus Collection” that includes historical medical equipment, surgical instruments and material once belonging to Dr Edward Ryan and Dr Thomas Francis Ryan, (both of Nhill, Victoria) as well as Dr Angus’ own belongings. The Collection’s history spans the medical practices of the two Doctors Ryan, from 1885-1926 plus that of Dr Angus, up until 1969. ABOUT THE “W.R.ANGUS COLLECTION” Doctor William Roy Angus M.B., B.S., Adel., 1923, F.R.C.S. Edin.,1928 (also known as Dr Roy Angus) was born in Murrumbeena, Victoria in 1901 and lived until 1970. He qualified as a doctor in 1923 at University of Adelaide, was Resident Medical Officer at the Royal Adelaide Hospital in 1924 and for a period was house surgeon to Sir (then Mr.) Henry Simpson Newland. Dr Angus was briefly an Assistant to Dr Riddell of Kapunda, then commenced private practice at Curramulka, Yorke Peninsula, SA, where he was physician, surgeon and chemist. In 1926, he was appointed as new Medical Assistant to Dr Thomas Francis Ryan (T.F. Ryan, or Tom), in Nhill, Victoria, where his experiences included radiology and pharmacy. In 1927 he was Acting House Surgeon in Dr Tom Ryan’s absence. Dr Angus had become engaged to Gladys Forsyth and they decided he would take time to further his studies overseas in the UK in 1927. He studied at London University College Hospital and at Edinburgh Royal Infirmary and in 1928, was awarded FRCS (Fellow from the Royal College of Surgeons), Edinburgh. He worked his passage back to Australia as a Ship’s Surgeon on the on the Australian Commonwealth Line’s T.S.S. Largs Bay. Dr Angus married Gladys in 1929, in Ballarat. (They went on to have one son (Graham 1932, born in SA) and two daughters (Helen (died 12/07/1996) and Berenice (Berry), both born at Mira, Nhill ) Dr Angus was a ‘flying doctor’ for the A.I.M. (Australian Inland Ministry) Aerial Medical Service in 1928 . The organisation began in South Australia through the Presbyterian Church in that year, with its first station being in the remote town of Oodnadatta, where Dr Angus was stationed. He was locum tenens there on North-South Railway at 21 Mile Camp. He took up this ‘flying doctor’ position in response to a call from Dr John Flynn; the organisation was later known as the Flying Doctor Service, then the Royal Flying Doctor Service. A lot of his work during this time involved dental surgery also. Between 1928-1932 he was surgeon at the Curramulka Hospital, Yorke Peninsula, South Australia. In 1933 Dr Angus returned to Nhill where he’d previously worked as Medical Assistant and purchased a share of the Nelson Street practice and Mira hospital from Dr Les Middleton one of the Middleton Brothers, the current owners of what was once Dr Tom Ryan’s practice. Dr L Middleton was House Surgeon to the Nhill Hospital 1926-1933, when he resigned. [Dr Tom Ryan’s practice had originally belonged to his older brother Dr Edward Ryan, who came to Nhill in 1885. Dr Edward saw patients at his rooms, firstly in Victoria Street and in 1886 in Nelson Street, until 1901. The Nelson Street practice also had a 2 bed ward, called Mira Private Hospital ). Dr Edward Ryan was House Surgeon at the Nhill Hospital 1884-1902 . He also had occasions where he successfully performed veterinary surgery for the local farmers too. Dr Tom Ryan then purchased the practice from his brother in 1901. Both Dr Edward and Dr Tom Ryan work as surgeons included eye surgery. Dr Tom Ryan performed many of his operations in the Mira private hospital on his premises. He too was House Surgeon at the Nhill Hospital 1902-1926. Dr Tom Ryan had one of the only two pieces of radiology equipment in Victoria during his practicing years – The Royal Melbourne Hospital had the other one. Over the years Dr Tom Ryan gradually set up what was effectively a training school for country general-practitioner-surgeons. Each patient was carefully examined, including using the X-ray machine, and any surgery was discussed and planned with Dr Ryan’s assistants several days in advance. Dr Angus gained experience in using the X-ray machine there during his time as assistant to Dr Ryan. Dr Tom Ryan moved from Nhill in 1926. He became a Fellow of the Royal Australasian College of Surgeons in 1927, soon after its formation, a rare accolade for a doctor outside any of the major cities. He remained a bachelor and died suddenly on 7th Dec 1955, aged 91, at his home in Ararat. Scholarships and prizes are still awarded to medical students in the honour of Dr T.F. Ryan and his father, Dr Michael Ryan, and brother, John Patrick Ryan. ] When Dr Angus bought into the Nelson Street premises in Nhill he was also appointed as the Nhill Hospital’s Honorary House Surgeon 1933-1938. His practitioner’s plate from his Nhill surgery states “HOURS Daily, except Tuesdays, Fridays and Saturday afternoons, 9-10am, 2-4pm, 7-8pm. Sundays by appointment”. This plate is now mounted on the doorway to the Port Medical Office at Flagstaff Hill Maritime Village, Warrnambool. Dr Edward Ryan and Dr Tom Ryan had an extensive collection of historical medical equipment and materials spanning 1884-1926 and when Dr Angus took up practice in their old premises he obtained this collection, a large part of which is now on display at the Port Medical Office at Flagstaff Hill Maritime Village in Warrnambool. During his time in Nhill Dr Angus was involved in the merging of the Mira Hospital and Nhill Public Hospital into one public hospital and the property titles passed on to Nhill Hospital in 1939. In 1939 Dr Angus and his family moved to Warrnambool where he purchased “Birchwood,” the 1852 home and medical practice of Dr John Hunter Henderson, at 214 Koroit Street. (This property was sold in1965 to the State Government and is now the site of the Warrnambool Police Station. ). The Angus family was able to afford gardeners, cooks and maids; their home was a popular place for visiting dignitaries to stay whilst visiting Warrnambool. Dr Angus had his own silk worm farm at home in a Mulberry tree. His young daughter used his centrifuge for spinning the silk. Dr Angus was appointed on a part-time basis as Port Medical Officer (Health Officer) in Warrnambool and held this position until the 1940’s when the government no longer required the service of a Port Medical Officer in Warrnambool; he was thus Warrnambool’s last serving Port Medical Officer. (The duties of a Port Medical Officer were outlined by the Colonial Secretary on 21st June, 1839 under the terms of the Quarantine Act. Masters of immigrant ships arriving in port reported incidents of diseases, illness and death and the Port Medical Officer made a decision on whether the ship required Quarantine and for how long, in this way preventing contagious illness from spreading from new immigrants to the residents already in the colony.) Dr Angus was a member of the Australian Medical Association, for 35 years and surgeon at the Warrnambool Base Hospital 1939-1942, He served as a Surgeon Captain during WWII1942-45, in Ballarat, Victoria, and in Bonegilla, N.S.W., completing his service just before the end of the war due to suffering from a heart attack. During his convalescence he carved an intricate and ‘most artistic’ chess set from the material that dentures were made from. He then studied ophthalmology at the Royal Melbourne Eye and Ear Hospital and created cosmetically superior artificial eyes by pioneering using the intrascleral cartilage. Angus received accolades from the Ophthalmological Society of Australasia for this work. He returned to Warrnambool to commence practice as an ophthalmologist, pioneering in artificial eye improvements. He was Honorary Consultant Ophthalmologist to Warrnambool Base Hospital for 31 years. He made monthly visits to Portland as a visiting surgeon, to perform eye surgery. He represented the Victorian South-West subdivision of the Australian Medical Association as its secretary between 1949 and 1956 and as chairman from 1956 to 1958. In 1968 Dr Angus was elected member of Spain’s Barraquer Institute of Barcelona after his research work in Intrasclearal cartilage grafting, becoming one of the few Australian ophthalmologists to receive this honour, and in the following year presented his final paper on Living Intrasclearal Cartilage Implants at the Inaugural Meeting of the Australian College of Ophthalmologists in Melbourne In his personal life Dr Angus was a Presbyterian and treated Sunday as a Sabbath, a day of rest. He would visit 3 or 4 country patients on a Sunday, taking his children along ‘for the ride’ and to visit with him. Sunday evenings he would play the pianola and sing Scottish songs to his family. One of Dr Angus’ patients was Margaret MacKenzie, author of a book on local shipwrecks that she’d seen as an eye witness from the late 1880’s in Peterborough, Victoria. In the early 1950’s Dr Angus, painted a picture of a shipwreck for the cover jacket of Margaret’s book, Shipwrecks and More Shipwrecks. She was blind in later life and her daughter wrote the actual book for her. Dr Angus and his wife Gladys were very involved in Warrnambool’s society with a strong interest in civic affairs. Their interests included organisations such as Red Cross, Rostrum, Warrnambool and District Historical Society (founding members), Wine and Food Society, Steering Committee for Tertiary Education in Warrnambool, Local National Trust, Good Neighbour Council, Housing Commission Advisory Board, United Services Institute, Legion of Ex-Servicemen, Olympic Pool Committee, Food for Britain Organisation, Warrnambool Hospital, Anti-Cancer Council, Boys’ Club, Charitable Council, National Fitness Council and Air Raid Precautions Group. He was also a member of the Steam Preservation Society and derived much pleasure from a steam traction engine on his farm. He had an interest in people and the community He and his wife Gladys were both involved in the creation of Flagstaff Hill, including the layout of the gardens. After his death (28th March 1970) his family requested his practitioner’s plate, medical instruments and some personal belongings be displayed in the Port Medical Office surgery at Flagstaff Hill Maritime Village, and be called the “W. R. Angus Collection”. The W.R. Angus Collection is significant for still being located at the site it is connected with, Doctor Angus being the last Port Medical Officer in Warrnambool. The collection of medical instruments and other equipment is culturally significant, being an historical example of medicine from late 19th to mid-20th century. Dr Angus assisted Dr Tom Ryan, a pioneer in the use of X-rays and in ocular surgery. Apothecary or pharmacy weights set, metric, in fitted wooden box with metal hook latch. Part of the W.R. Angus Collection. Round brass weights (50g, 20g, 20g, 10g, 5g, 2g, 2g, 1g) and small silver sheet weights under glass (500mg, 200mg, 200mg, 50mg, 10mg, 5mg, & 5 other smaller ones), plus brass tweezers. Lid of the box has maker's plate "MADE SPECIALLY / FOR / H B SILBERBERG & CO. / MELBOURNE"flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, dr w r angus, dr ryan, nhill base hospital, warrnambool base hospital, mira hospital, apothecary weights set, pharmacist weights, weights and measures, chemist weights

The Universal Stereoscope was used to view overlapping stereo aerial photography in three dimensions (3D). It consists of magnifying lenses, an optical train including glass prisms and mirrors that are protected by sliding metal covers all suspended on a pair of fold out adjustable legs. The stereoscope is coloured military olive drab green. This Universal Stereoscope was produced in Australia in 1940 for Military use. It was originally produced with a timber protecting carry box that is missing. It was used extensively by members of the Australian Survey Corps during WWII in many theatres of War for viewing and annotating aerial photography. Item 6205.6P, photograph 6205.1P shows the Universal Stereoscope in use by the Australian Survey Corps annotating aerial photography.The Universal Stereoscope was used to view overlapping stereo aerial photography in three dimensions (3D). It consists of magnifying lenses, an optical train including glass prisms and mirrors that are protected by sliding metal covers all suspended on a pair of fold out adjustable legs. The stereoscope is coloured military olive drab green."DC-1940 Serial No 550", "D V D", "Made in Australia" Plate on the underside reads " This stereoscope was donated to the Ex Fortuna Survey Association by the Eaglehawk Recycle Shop February 2015"royal australian survey corps, rasvy, fortuna, army survey regiment, army svy regt, asr

.1) This one was used in the Writing room which later became a Meeting room then finally the RSL Building & History room. it was attached to the LH side of the Fire Place and ran an old Electric Heater on the Hearth. It was used up to about 2005. .2) This one was in the Old Kitchen built on the side of the Soldiers Memorial Institute in the mid 1960's This one ran the Electric stoves used by the Womens Auxiliary of the Bendigo RSL and to make the Rum & Coffee for the ANZAC Day Dawn service. The kitchen was removed as part of the Renovations in 2016 - 18..1) Heater meter, metal construction black coating, top face has a glass section with a "usage meter" saying "coins paid, unused", metal plate under with details re numbers, maker, coins per hour, on right side slot for "Shillings only" with knob, removeable lockable tray at bottom for coin storage and removing. .2)Same style as .1) but a different glass face style metering, it has 11 circular dials with one hand, these show "Coins paid, coins unused", this one shows the round meter going around when in use. The only differance between to two shapes is at the top re fixing to a wall..1) On plate, "Remote Control Switch - for alternating switch No 26 204 020 - Type Wik 36.1 - Adjustable 1-6 coins per hour, Adjusted for 1 coin per hour" On stickers, "insert 10 cents - Turn knob to right". .2) On glass section, "230/240 revs per KWH - 1200 - Serial No 8338380 - 5 - 50". On label stuck on, "10 c equals 1/2 hour"brsl, smirsl, shilling

These plates were pressed to commemorate the centenary of the European settlement of Australia. A large number were produced and the were distributed throughout AustraliaThese plates are a good example of souvenirs which were produced to commemorate the celebrations of the centenary of European settlement of Australia. The pressed glass was a common method of manufacturing around that period and of which they are an excellent example.001423.1 Large rounded amber glass dish with scalloped edge and seven fine rings below. Text is stippled glass on the back which appears through to the inside of the dish.An early version of Australian Coat of Arms is in the centre with the centenary years inside shields, either side. 001423.2 A smaller version of 001423.1 001423.3 Small clear glass saucer shaped dish with same design as the larger dishes. 001423.4 Small amber coloured shallow dish with small glass handle on each side. Pattern matching the larger plates is embossed on underside of the dish. The surface is scored acroos the centre bottom of the dish.Australia's Centenary in stippled glass around the edge of each dish. Advance Australia below the the Coat of Arms. 1788 1888. R*No 88120 behind one scallop on edge on each platewarrnambool, centenary of australia, centenary plates, 1788-1888

This tea caddy, an attractive item, was given to Margaret Fletcher (date of presentation unknown). A tea caddy in the 19th century was a valued object as tea was expensive and was bought in small quantities. The two side containers are for green and black tea and the middle one was for blending the tea mixtures. The caddy was lockable so that domestic workers etc could not have easy access to a valuable commodity. The local provenance of this object and the identity of Margaret Fletcher have not yet been established. She may be related to John Fletcher, the Warrnambool cordial maker or James Fletcher, the Warrnambool lawyer. This tea caddy is of great interest as an attractive artefact from the 19th century and as an example of a household item no longer in use. It is also of interest because it was given to Margaret Fletcher, possibly a local Warrnambool person. This is a polished wood container made in a casket style. The wood is believed to be Coramandel. The casket has curved sides and is on a base with four legs. The lid has a brass hinge and a gold lock with the key and the lock mechanism missing. Inside are three compartments, two with hinged lids with leather tops and zinc linings. The middle compartment has a glass container set in a wooden compartment. The inscription is on a brass plate inside the casket. ‘Presented to Margaret Fletcher as a Mark of Respect’. margaret fletcher, history of warrnambool

The maker of this cruet set is unknown. It is a high quality household item and would have been a common item in households of the more affluent homes in the 19th and early 20th centuries. Cruet sets are not used much these days but have usually been replaced by salt and pepper shakers without a stand. This cruet set has no known local provenance but is retained as an example of a household item of the past. It will be useful for display This cruet set consists of a stand, a container for mustard and two containers for salt and pepper. The stand is silver-plated and has a rectangular base with pointed edges and three slots for the containers, one rectangular and the other two square in shape. The handle is riveted to the base with two screws which are now rusty. The base of the stand also has six studs. The silver plating is tarnished in places. The salt and pepper containers are made of cut glass in rectangular shapes and have silver-plated circular-shaped lids. The top of one of the lids has broken loose from the lid. The mustard container is made of cut glass and is rectangular in shape. The silver plating on the lids is wearing away. history of warrnambool, 19th century household items, cruet set

Bradley and Hubbard Co. 1869 to 1940. Pat'd 1895 - 1898.Used by a Kiewa Valley residentNickel plate body with glass chimney and large white lamp shade. Both bowl and base are panelled and the base is scrolled on the edge. The bowl has a fill cap inscribed B & H and opposite there is a ratchet wheel lift. On top of the bowl is a decorated cylinder which lifts up to enable the lamp to be lit with a match. The glass chimney sits on top. There are 3 curved equally spaced rods coming up around this cylinder - to hold up the shade.Embossed on Fill Cap lid: "B & H" Embossed on top of bowl "Dec. 1885 / No. 4 Radiant / The/ B & H" and opposite "Pat'd Aug. 16 1888" Embossed on side under the 'grate': Pat'd Feb. 16 '97" Painted on glass chimney: "Griffen - Brand / dragon logo / Fire Proof / Madein Saxony / Rochester / No. 2lamp, lantern, bradley & hubbard, kerosene, oil light

These reading glasses plus the two additional replacement lenses were highly fashionable in the late 1800's and early 1900's due to their light frames ie. wire. They are of light material and are not as obtrusive, or heavy, as horn rimmed reading glasses.This minimisation of the eye wear was to allow the facial features to be presented without any obstructing eye wear, "au naturel". The "light weight" wire connections to nose and ears was to minimise weight upon those physical areas. It was an eye piece preferred by accountants and all forms of "book worms". This was a period when the "written word" was at its peak. This was well before the light enhanced computer screen and at an age where the "written word" was in the majority as compared to the typed word. These reading glasses are very significant to the Kiewa Valley as they provide additional material which supports the "isolational factors" which were prevalent in the 1800's and early 1900's. Poor lighting and lack of available optical technicians in rural areas, required those suffering with eye troubles in these rural areas to go to Melbourne. An advertisement placed by H B Bissel "eyesight specialist" in the "Independent" Newspaper in 1915 on page 3 " Every person's eyes are liable to be affected by some little weakness or other and these weaknesses, if not corrected at once, are apt to assume a most serious aspect as time goes on". This type of advertisement is putting "the fear of God" on those with slight eyesight problems. It also does not factor the poor lighting used by most in rural areas at this point in time. By the mid to late 1950's, electricity in the Kiewa Valley was available to all households and improved lighting helped nighttime readers. These reading glasses, made in Melbourne, highlight the fact that the Kiewa Valley and its region were still reliant on Melbourne based "specialists" and travel to and from these highly professional health practitioners not only involved a long, and time consuming journey, but also an expensive one.The frames of this oval wire reading glasses is made from gold plated copper wire. There are three nose bridges each with a slightly different angle and shape, each has a different magnification. This may suggest that they were in use at different developmental periods during the wearers ages. Each of the three lenses were fixed onto the frame by a screw and fastened directly onto the glass. Two of the glasses have nose "guides/rests" and one without.. The fine wire ear "loops" has a small "ball" feature at its end (to stop the glasses from slipping off the face).personal effects, spectacles, eye fashion, reading glasses

The photographic developers were used to develop plates, films and lantern slides. They had to be mixed as per instructions on the bottles. These may have been used by an individual or by a local school or organisation.Wilma Davies, a long term resident of the Kiewa Valley, donated this photographic equipment.1 brownish/black cardboard box with hinged lid at top. Label is black, white & orange on front & across top of lid. This label continues down the sides and was a seal. The box contains: 3 clear glass cylinders with white markings used to measure 1 cc of liquid, showing 5cc and 10cc. Also: 1 brown glass, rectangular shaped bottle "Kodak Amidol" 1 ounce nett. It has a black plastic screw lid, a white label on 3 sides with black & orange print. Also: x2 round brown glass bottles with a sealed orange rubber(?) over tin(?) sealed (screw?) lids. Label "Johnson Colourform Developer "A" solution" all around with white label on the front and "Activol" and 'Caution' on the back all in black and orange print.Johnson Colourform Outfit on box. White marks showing 1cc on glass cylinders and 5cc and 10cc. "Kodak Amidol" etc. on 1 bottle "Johnson Colourform developer "A" Solution on 2 bottles.photographic equipment, photography, chemicals, processing equipment, johnson of hendon, kodak, colourform outfit, photo developer, wilma davies