This walking stick, which is also a horse measurer, belonged to Atwell George Bendall, the well-known racing man, judge and handicapper in the Western District early in the 20th century. Born in the Caramut district, he was the manager of the ‘Green Hills’ estate at Winslow, a property owned by his father who also operated a livery and coach service at Caramut. When his father died Bendall carried on the family business until the end of the 19th century when he went to live in Warrnambool. A lover of horses, Bendall was an amateur rider of note and an owner of several racehorses. He also took a keen interest in coursing and owned and bred many successful dogs. In Warrnambool he took an interest in trotting and owned several trotters. For the last sixteen years of his life Atwell Bendall was a handicapper for most of the Western District race clubs and his keen judgment and knowledge of horses were greatly admired and appreciated. He was also a judge at agricultural shows and other horse events and this is probably where he was made use of this horse-measuring walking stick. He died in 1922. This is a most significant item as it belonged to the prominent early 20th century horse racing identity in the Western District – Atwell Bendall. It is also of general historical interest as an ingenious object – a walking stick doubling as a horse measurer. This is a mottled brown-coloured wooden walking stick, slightly tapered and with seven segments. It has a wooden knob at the top curved and indented in an acorn shape. The knob has silver coloured nails or tacks driven into the raised sections. The knob lifts out and is actually a wooden ruler with silver casing at the top of the ruler. Also at the top of the ruler, at a right angle to the ruler, is a lift-out metal piece which has a spirit level at the top end and this metal piece is used to rest on the horse to estimate its measurement in hands. There is a leather strap near the top of the walking stick for attachment to the wrist and a gold metal cap at the bottom of the stick. A silver band near the top of the stick has an inscription. ‘A G. Bendall Warrnambool’ atwell bendall, history of horse racing in the western district, history of warrnambool

Clothing. White linen camisole with peplum 8.5 cm deep. Round lace yoke at the front, with a panel for a ribbon insertion. Some evidence exists on the right front, that once there was a pink ribbon - possibly silk, but now there are only a few threads left. The insertion panel continues around the back neck edge. Two panels of three .5 cm tucks run from the neckline to the waist of the centre back. Front opening, with two 1 cm pearl buttons still evident, and a cotton tape and casing at the waistline. ON each side of front opening, a group of five pintucks, 7 cm long run from the waistline toward the bustline.All items belonged to Margaret Ann McLean.costume, female, white linen camisole.

A Head 'Master' tennis racquet (1), featuring: twin shaft, 'I-beam', aluminium alloy frame; 'Forten' nylon net strings; blue plastic bridge; black leather handle grip, with X-formation perforations, around black plastic shaft casing; and, black plastic butt cap. Head logo and trademark feature across bridge. AMF Head logo featured across butt sticker. Model name along outer side of left shaft. Racquet accompanied by vinyl racquet head cover (2), with AMF Head logo across obverse, and trademark on reverse. Materials: Metal, Plastic, Nylon, Adhesive tape, Leather, Paper, Ink, Vinyl, Ink, Metaltennis

Research suggests that this dress dates from the early 1920's when elastic was first used in clothing.Deep cream cotton muslin ladies tea dress. High waisted, square neckline, elbow length sleeves edged in cotton lace. Skirt has four panels of fabric - two side panels extending around front and back, and centre panels at front and back. French seams - some stitched in pink thread - machine stitched. Centre panels have two rectangular inserts of cotton lace. Each side panel has one rectangular insert of cotton lace. Lace inserts are edged on sides with six ball passementerie buttons. Neckline and sleeves edged with cream cotton lace. Soft gathering from neckline of centre front and back. Elastic casing around waist.costume, female, ladies tea dress

The Junction Dam and Clover Dam Power Station, stages of the Kiewa Hydro-Electric Scheme, were needed to meet the increased power demands of the wartime industry in Victoria. Clover added 26 megawatts to the grid. Junction Dam was completed and ready to hold water by September 1943, but was emptied in December 1943 and not filled again until May 1944. Construction of Clover Power Station commenced in July 1941 and both turbines were in service by May 1945.Clover Power Station and Junction Dam were part of the Kiewa Hydro Electric Scheme constructed by the State Electricity Commission of Victoria.Set of 22 black and white photographs taken by the official SECV photographer who gave each photo a number prefixed by K (for Kiewa) K60 -no date- A bridge and entrance to tunnel K519 -no date- Welding steel lining in the tunnel K531 –no date- Construction on the Kiewa Scheme (tunnel in background K821 – no date- Bogong Village, early days K928 -15 Oct 1942- Construction Clover Power Station K947 -26 Oct 1942- Construction Clover Power Station K948 -26 Oct 1942- Construction Clover Power Station K949- 26 Oct 1942- Clover Camp in background K950 -26 Oct 1942- Construction Clover Power Station K955 -27 Oct 1942- Constructing the bridge at Clover K1102 -7 April 1943- Inlet pipe to power station K1179 –no date- Clover Power Station K1187 – no date- Clover Power Station K1189 -24 June 1943- Part of the spiral casing 1199 -7 July 1943- Clover Power Station K1201 -7 July 1943- Clover Power Station K1231 -26 July 1943- Gantry crane for Clover Power Station K1308 -6 Sept 1943- Spiral casing K1334 -6 Oct 1943- Lake Guy. Bogong Village in background K1342 -29 Oct 1943- Power station under construction K1365 -19 Nov 1943- Power station under construction K1366 -19 Nov 1943- Gantry crane for Clover Power Station On the back- each photograph has a handwritten reference number starting with K and the date stamped or written (see above)secv; kiewa hydro electric scheme; official photographer; junction dam; clover power station; bogong;

Clothing. Infant's cream silk dress. High round neckline edged with one cm lace, and casing. Yoke front and back extending to kimono style long sleeves. Front yoke has four vertical strips of lace and centre embroidered panel with pale pink flowers and pale green leaves. Two strips of inserted lace extend along the top of each sleeve from neckline to wrist. Sleeves edged with three cm lace at hem. Centre back opening (22 cm) fastened at neckline with.6 cm pink silk ribbon and two one cm buttons and button holes in centre and lower edge of yoke. Skirt has five cm lace border at hem.costume, children's, infant's cream silk dress

When this AVOMETER was being utilised in the early 1950's it was at the "leading" edge of electrical measuring instrumentation.The first meter was produced by Automatic Coil Winder and Electrical Equipment Co. in 1923. This model was produced in the time from 1933 to 1951 when it was superseded by the most popular model, Model 8 (1951 to 2008).This AVO meter brought the measuring of three electrical power indicators i.e., amps, volts and ohms into one measuring unit. By using a "one fits all" unit, the carrying of separate measuring devices was reduced considerably. The need for a mountainous and a large area of operational requirements, such as the SEC Vic Kiewa Hydro Electricity Scheme, to minimise the weight of equipment carried by electricians and technicians was of the utmost relevance. The significance of this meter to the Kiewa Valley region relates to the impact of modern technology (at that time) upon a mainly rural environment. This equipment shows how the boost of "modern" equipment into the area because of the "Hydro Scheme" was facilitated a lot faster than would have taken under "normal" evolutionary time. The speed of information on all "new technology" had a relatively slow assimilation rate to those living in rural communities. This AVOMETER is a Model 7 MKII, production pre 1951. This meter measures electrical Amps, Volts and Ohms and has two internal batteries for its power. The main casing is made from aluminium with a bake-lite front. The front has a "window" detailing, with a needle pointer, the amount of electrical power being tested. There are two big dial switches, detailing Direct Current(DC) and Alternating Current(AC) when reading measurements of Ampere, Voltage and Ohms for power. This meter took the place of three or four meters used earlier. Modern meters (2000 onwards) have become digilised and are considerably lighter in weight and smaller. There are two electrical connection leads (one black and one red) each has a removable clasp and is 125cm long.Molded on the front centre panel " UNIVERSAL AVOMETER". Below this and above the left hand dial "D.C. SWITCH" .Above the right hand switch the right "A.C. SWITCH". On the left of each switch is an arrow pointing to it.The left switch is marked with a "+" and the right one with a "-". There is a "divisional 2" mark. Between and below the dials is "CUT OUT" plunger.electrical meters, electrical equipment, sec vic., state electricity commission of victoria, mt beauty, bogong village

Clothing. Infant's cream coloured silk coat with yoke front and back. Fold over collar (12 cm) with embroidered flowers on the front with embroidered zig zag edging. Round neckline with casing threaded with 1.8 cm patterned silk ribbon. Yoke sections lined with cotton fabric. Long sleeves gathered all shoulders, with embroidered pattern at wrist with 1.7 cm lace trim. Full length front opening with embroidered zig zag edging that continues around hemline of garment. Floral embroidered patterns across the back of the skirt above the hemline, and at the lower corners of the front panels. Front opening fastened with silk ribbon ties at neckline and one X 1.5 cm button at lower edge of yoke. Gathered skirt is unlined.costume, children's, infant's cream coloured silk coat

Fine white cotton girl's night dress. Yoke at front and back. Full length back opening fastened with tie at neckline. Back yoke has three vertical pintucks on each side of opening. Front yoke has vertical pattern of pintucks and embroidered fabric with horizontal section at waist. Sleeveless nightdress overlays of embroidered fabric attached to sides of yoke to form cap sleeves over shoulders. U shaped neckline has casing with cotton tape tie. Gathered skirt attached below yokes. Finished with French seams. Lower edge of night dress trimmed with embroidered fabric with scalloped edge. Note in box with garment ''The child's nightgown is about 60 years old and was made by Mrs. Antoinette Catling for her eldest daughter''. Undated. Not attached. This is the most probable garment.costume, female, white cotton girl's nightdress

Two part object. (1) An AMF/Head (possibly 'Edge' model) tennis racquet, featuring: twin shaft, aluminium alloy frame; brown plastic bridge; nylon net strings; brwon leather handle grip; brown plastic shaft casing; and, black plastic butt cap. 'Triple Head' logo features on adhesive label on bridge. No model name visible. Etched into sides of both shaft pillars are owner's details: 'CATHERINE BONE/ 318 50 OAKS/265-1665'. (2) AMF/Head brand cover for racquet head and throat. White vinyl with brown, tan and chocolate branding across centre. Plastic zipper with metal pull tab. Materials: Metal, Plastic, Nylon, Adhesive tape, Leather, Adhesive label, Vinyltennis

Two part object. (1) A Wilson 'T3000' metal tennis racquet, with double shaft; metal shaft bridge;and red plastic shaft casing featuring 'W' logo. Model name printed on metal adhesive labels fitted to shaft bridge. Handle wrapped with brown leather. Net anchored to metal wire wrapped around head frame. Red plastic butt cap with partial white label featuring manufacturer's 'W' logo in red. (2) A white and red vinyl racquet head cover with zipper and printed with manufacturer and model names. Has adhesive sticker on each side. Both state: 'NEW/EVEN QUICKER/EVEN STRONGER/T3000'. Materials: Metal, Plastic, Adhesive tape, Nylon, Adhesive label, Leathertennis

Heavy white cotton lace dress. High round neckline with cotton drawstring ties. 6cm lace collar with scalloped edged. 7cm cap lace sleeves with fine scalloped edges. Casing at the waist with cotton ties to back. Back opening from neck line to 9cm below waist. Cotton tie at neckline at back. Two x 1cm white buttons spaced at 6cm and 12cm below neck. Hemmed edges of lace form the edges of the back opening. Two machine stitched button holes on RHS with 4.5cm layer of lace covering the button holes. LHS of opening is plain. Lace skirt made of single piece of lace fabric gathered at the waist. Seam at centre back. Skirt 31 cm. Scalloped edges dipping to V shapes. 5mm cotton ties at waist and neck go through metal ties. Machine stitched.costume, children's, infant boy's dress

Clothing. Infant's cream coloured silk cape with collar and two layers. Semi-circular 180 degrees lined yoke section with round neckline with casing and fold over collar (18 cm). Collar has 9 cm frilled embroidered lace trim with scalloped edges. The cape has two layers both lined with linen fabric. The under layer (110 cm) is edged with 9cm frilled embroidered lace and three horizontal pleats above the hemline. The top layer (52 cm) is edged with 9 cm frilled embroidered lace with a 14 cm panel of embroidered lace across the centre of the cape. The layers create the effect of a long cape with a collar and a shoulder cape. The cape is fastened at the throat with silk fabric ties (8 cm X 50 cm) with fabric frills at the hem.costume, children's, infants cream coloured silk cape

Clothing. Infant's pink linen nightdress. Square neckline trimmed with eyelet lace threaded with pink ribbon, and 1 cm lace frill. Square yoke front and back with horizontal pin tucks and 5 cm lace insert. Yoke at front and back has 5 cm lace frill around edges. Long sleeves, have a pleat at the shoulder, pin tucks and lace insert at elbow. Sleeves are gathered into casing at wrist with 4 cm lace frill at hem. Front of skirt has vertical pin tucks and three lace inserts below the yoke. Skirt has border of zig zag lace insert and horizontal pin tucks above two 13 cm flounces with zig zag lace inserts and lace edges. Centre back opening (35 cm) fastened with four metal press-studs.costume, children's, infant's pink nightdress

Clothing. Woman's black waist length long sleeved silk blouse. Wide scooped neckline with fold over collar (10 cm) with rounded corners. Kimono cut sleeves with geometric pattern of black beading at wrist (5 cm wide). Front of bodice has crossover section with fastening across left shoulder. Front section has 30 cm panel of black beading geometric pattern. Waist is gathered by a cotton tape casing 2.5 cm above the hem. The front opening is on the LHS from shoulder to waist with eight metal hooks and cotton loops. Opening across the left shoulder is fastened with four hooks and loops and one press-stud. Back of bodice has matching panel (30cm wide) with a black beading geometric pattern. Garment is unlined. Beading patterns use 1mm black beads.costume, female, woman's black silk blouse.

Clothing. Cream silk embroidered sleeveless top with a neckline at front and back, which is edged with a fine rouleau binding. The fine silk binding also edges rhe sleeveless armholes. The fabric is woven with a floral woven design. A 2 cm wide tie attaches to the side seams 13 cms below the armholes.The top is sleeveless, and the hemline which is rounded at the side seams, is finished with a self fabric binding. Silk shadow embroidery trims the front neckline, and extends to the midriff. Embroidery is in a floral design. The pyjama pants are full length, with a fine bound finish - probably at or slightly above the ankles. An 11 cm deep V shaped panel at the front waistline, and an elastic casing at the back waistline. A panel of shadow embroidery decorates the side hemline. A small dart, 6 cm long, from below the armhole on either side of front bodice.SILK and RAYON MADE IN CHINAcostume, female, ladies cream silk pyjamas

Glen Eira has a long history of association with various heraldic forms. From its early years the municipality of Caulfield had used the armorial bearings of the Caulfield Family (the Charlemonts of Castle Caulfield) to represent the roads board and later the town and city. In 1969 Caulfield City Council began planning to apply for an official coat of arms for the City. In 1974 Horace Hall, a Balwyn North resident and member of the Heraldry Society in London advised Council that the current usage was illegal, and that the Houston family, current owners of the Caulfield Arms could take legal action against Council for 'usurping their arms'. Mr Hall was commissioned to develop new heraldry for the City, and in conjunction with J. P. Brooke Little at the College of Arms, London, he prepared an acceptable design for Caulfield's Coat of Arms. The Council paid an additional sum to have a standard painted on the Letters Patent and the municipality's new coat of arms was drawn up in June 1975. The Coat of Arms retains a number of heraldic elements from the original Caulfield family insignia, including the dragons, the colours and the elements of the shield. The newly registered coat of arms and Letters Patent document for the granting of arms was presented at a civic service to mark the granting of armorial ensigns and the city banner to the City of Caulfield on the 1st May 1977. Significant elements of the coat of arms granted by these Letters Patent are as follows: The motto 'Labore Vinces' translates to 'By our labours we will conquer'. The helmet represents the rank of the owner. Public authorities are granted an esquire's helmet. The brickwork on the crest is a recognised emblem of local government. The Letters Patent also display a banner and a badge, both official symbols of the City of Caulfield. The badge, which is displayed on the banner as well as on its own, features a bridled horse. This represents the importance of racing, the Caulfield racecourse and the Caulfield cup to the municipality. These letters patent officially proclaim the granting of the coat of arms to the City of Caulfield. They are highly significant to the City of Glen Eira as they are the primary document that signifies the official and ceremonial heraldic powers of the Coat of Arms of the City of Caulfield. Mounted Letters Patent illuminated document for the Grant of Arms to the City of Caulfield presented on 1st May, 1977. Hand written and hand painted on cream coloured parchment using different coloured inks, mainly black, blue, red and gouache and gold paint. The bottom edge is folded up over itself approx. 45mm revealing the flesh side of the parchment, which displays black ink signatures and three sets of two horizontal slits that hold three blue ribbon. The ribbons support three wax seals in round, gold coloured metal cases held by the wax through slots in the casing. Although covered by the cap top, each wax seal within displays a different flag emblem with a crown on top, surrounded by a ring of text (difficult to read), noted when the cases were opened during conservation treatment. See attached transcription.arms, symbol, heraldry, glen eira, council, caulfield

The Olivetti company was founded in Italy in 1908.This particular typewriter is a Olivetti Lettera 22, oblique front stroke and portable manufactured after 1950. The 1950s and 1960s was a time when British manufactured goods were still purchased by many Australian consumers. The later 1960s onwards, there was a shift, mainly in the cities, to European made goods. The invasion of Japanese manufactured goods was relatively slower, especially in rural areas. The demand for long lasted and dependable merchandise was in the rural area still the most important criteria. The ease of setting up this typewriter and its compact mobility was its major benefit to trades people and travelling professionals, e.g. rural doctors, other medical professionals, accountants, lawyers and educators. This item facilitated the growing numbers of professional nomads requiring a relatively light office stationery package e.g. travelling novelist, writer, businessman and academics. This typewriter needed no electrical or battery power to operate it. Outback Australia, where at this point in time, was still relatively isolated from a good available electrical power reticulation and battery power, and therefore could not be totally measured as a highly efficient office environment.Although this typewriter was purchased from a business in Penrith, Sydney, N.S.W., it is significant that it travelled easily to the Kiewa Valley, demonstrating the mobility of certain sections of the community. This typewriter was designed by an Italian industrial designer, Marcello Nizzoli, in line with the art deco style of the 1930s and the colour and flexibility of the vibrant 1950s. The underlying theme of manufacturing in the 1950s was to produce equipment that was more efficient than what was inherited from the earlier period of 20th century. Improvements were made to this Olivetti typewriter by Giuseppe Beccio by reducing the number of parts made from 3,000 to 2,000. This reduction of parts and therefore cost of production was the major principle of the Japanese manufacturing juggernauts of the post World War II era. Efficiency and low costs material was becoming prime factors in the success of rural industries from the 1960s. Competition from overseas producers was starting to affect rural industries and the removal of the large range of tariff protection, especially rural products, required not only a shift of farm management but a more efficient cost savings modus operandi. This Olivetti Lettera 22, oblique front stroke portable (weighs 4kg) mechanical typewriter has a coral coloured plastic casing. The keys are made of black hardened plastic with white lettering, numbers and symbols (imperial fractions, and pound). It has a QWERTY keyboard as opposed to the Italian QZERTY. It has a lever to move the ribbon between black, neutral (for mimeograph stencils)and red colours (a red key is provided for highlighting specific words,letters or symbols) . This machine is fitted with only a black ribbon. It has a black rubber paper rollers and chromed metal parts on the carriage way. It has four rubber feet underneath the main body. On the left side of the roller there is a lever to adjust the roller from fixed (when mobile) through 1,2 and 3 line space gradients. This model has a key for zero but not one for the number one (uppercase letter l is used) see KVHS 0459 for the carrying bag.On the cover over the ribbon wheels letter strikers has a plate marked "Lettera 22" and the back plate behind the paper roller and in front of the paper supports has a silver metal label marked "olivetti made in great britain".commercial, mobile office equipment, mechanical typewriter

Sheer bri-nylon, over a heavier weight bri-nylon lining. Sleeveless and with a scoop neckline. A braid of padded flowers and leaves outlines the neckline and forms the straps that pass over the shoulders. This braid also forms a “yoke” from which the main body of the nightgown falls in soft gathers. Outer bri-nylon layer is edged with a one cm wide lace edging. Price on swing tag: 65 shillings. Negligee with double layer of soft pink bri-nylon. Scooped neckline with a 6cm wide yoke. Yoke has a braid of padded flowers and leaves that outlines the neckline that is appliquéd as is the matching nightgown. Two pearl buttons fasten the yoke at the centre front. Full length front opening. Double layer short “puff” sleeves are gathered at the shoulder and have an elastic casing at lower edge. Outer layer of sleeve is longer than lining, giving a soft “puff” effect. Hemline has a stitched “shell” finish.Hanro SW (Small Women’s) 100% bri-nylon On swing tag: Created by Hanro, Quality lingerie. Swiss Inspired.costume, female underwear, nightgown

Clothing. Fine white cotton lawn nightgown. Round neck, with back opening. 12 cm deep yoke, and tiny cap sleeves of embroidered cotton. A V shaped panel of embroidered cotton at the centre front of the yoke. A drawstring in a casing fastens at the back neckline. A tiny .75 cm button, fastens the back yoke. Nightgown is machine stitched, with some hand stitched decorative stitching. The long skirt has two bands of narrow tucks-one tuck of 1.04 cm and six bands of .04 cm. This is edged with a band of hand stitched embroidery. This band of tucking is repeated, and edged with a 6 cm wide band of eyelet embroidery. This panel is repeated with the lower edge of embroidered cotton finished with a scalloped shaped edge. A scalloped braid edges the neckline. Skirt is two-tiered-top tier very finely gathered to yoke is 15 cm deep. Lower tier is 71 cm deep.costume, children's, toddlers nightgown.

Ladies black satin boned bodice. Centre opening, fastened with eighteen metal hooks and eyes. Waistband 2.5cm wide with eleven vertical fabric encased bones attached. There are two bones on either side of the front opening, bones on each side seam and five bones across the back. There is a decorative two cm wide ribbon attached to the RHS of the waistband that extends across the front of the bodice to the LHS with a seventeen cm black ribbon bow attached. This is fastened to the RHS waistband with a metal hook and eye. There are two decorative pin tucks across the waistband at the back of the bodice. The bodice and sleeves are lined with brown cotton fabric. The 6.5cm stand-up collar is lined with dark green cotton fabric. The shoulders seams and eight of the bone casing are reinforced with black cotton fabric with green and pink checked edging. The long sleeves are gathered at the shoulders and shaped at the elbows. The wrist is finished with a decorative band of pleated fabric (2.5cm wide).costume, female, ladies black satin boned bodice

Clothing.Woman's black silk blouse. Bodice is made up of two layers. Inner layer of black cotton has full length front opening with placket with five buttons and button holes from 5cm below round neckline to 5cm above the waist. There is a breast pocket on the LHS (14cm X 11cm). The outer layer of black silk is attached to the inner layer at the shoulders (pleated) and around the arm holes, and hand stitched at the lower back to form a casing for cotton tape ties. The front forms a full width crossover with one metal hook on top LHS. The outer layer extends 7 cm below the inner layer at the waist with a 7cm peplum across the back. Set in long sleeves are tapered at the wrist with a 5 cm frill at the hem. Sleeves fully lined. Hand and machine stitched. Fold over collar (10cm) with squared corners.Decorative black , gold and pearl button on each wrist on hem.costume, female, woman's black silk blouse.

Clothing. Woman's black ribbed silk bodice, fully ;lined with black cotton fabric. High round neckline with stand up lined lace collar (4cm), fastened left of centre at front with two metal hooks and eyes. Front lining fastened with twelve metal hooks and eyes from throat to waistband. Waistband (5.5cm) of horizontal pleated fabric. Small pocket (8cm X 6cm) attached to inside lining on LHS. Waistband has 7 cm cross over tab section at centre front fastened with three metal hooks and eyes. Centre front opening is edged with black lace and tucked spotted voile, fastened with three metal hooks and eyes.A wide shawl collar across the shoulders extends and gathers into the waistband at front and back. This forms a V shaped opening at the front exposing the lace and voile beneath.The inner and outer edges of the collars have decorative knots. The centre of the collars have 18cm pin tucks from the shoulder seam at the front and 11 cm pin tucks at the back.At centre back. a panel of black lace runs from the collar to the hem of the waistband. Two gathered fabric tails are attached at centre back to hang below the hem of the waistband. Decorative lace as stitched across the shawl collar at the shoulders seams, ending with a decorative knot and cotton tassell (7cm). Set in Leg 'o'Mutton sleeves are gathered around the arm holes and gathered into a band of fabric with decorative lace and knots. The narrow lower section has a turned over hem edged with decorative knots and black lace. Each sleeve has a 5cm slit at the wrist. The bodice has fifteen bone casings spaced across the garment, from the waistband. These are stitched in place with yellow cotton. Some internal seams finished with yellow cotton. Hand stitched. Word ''GLEN" is written on one bone casing. Temporary darts have been stitched on both side seams with red cotton to reduce the size.costume, female, woman's black ribbed silk bodice.

The clock was purchased from Jas Murray & Co. of 107 Bourke Street East, Melbourne by Francis Barnard. James Murray & Co were well known clock and watchmakers operating from premises in London with branches in Calcutta and Melbourne. They were watchmakers and jewellers in Melbourne from 1860 to 1888. Francis Barnard established Barnard’s Pharmacy on the corner of Bulleen Road (later renamed High Street) and Cotham Road in 1857. In the early 1860s, after purchasing the clock, he placed it in his pharmacy where it could be seen by passers by. When he relocated across the road to 49 Bulleen Road (now 167 High St.) in 1880 he took the clock to the new premises. He maintained the accuracy of the clock so that local residents consulted it for the correct time, even after the Post Office building with its clock tower was opened in 1888. When Francis Barnard retired, his son took over the pharmacy. In 1925, the Barnard Pharmacy was sold to David Paton. The Paton’s were at first puzzled why people constantly peered in the door until they realised that the timepiece was the drawcard. When David Paton died in 1941, his widow sold the pharmacy but took the clock with her to her new florist shop at 145 High Street. When Mrs Paton retired in 1953, she took the clock to her home in Boronia. In 1973 her daughter donated the clock to the Kew Historical Society.Significant locally to Kew as an example of a timepiece that was used by the local community during the 19th century to tell the time.Barnard’s clock is a typical wall clock of the nineteenth century, variants of which could be seen in shops, offices, public buildings and stations. It has a mahogany case with a moulded wooden bezel encasing a hinged brass bezel housing the glass face which protects the dial and hands when working. The clock face has an off-white hand painted tin dial with black painted Roman numerals. The hands are black painted metal; the hour hand has a wide spade shaped point whilst the minute hand is much thinner. ‘Jas Murray & Co’ is painted above the centre, with ‘107 Bourke Street East’ and ‘Melbourne’ below, with the key hole in between. The clock movement is a fuse chain attached to a brass mainspring barrel which powers the pendulum for eight days. This is housed within a rectangular wooden casing with a convex curved base housing a hinged door giving access to the pendulum which is attached to the back of the clock by four wooden pegs.Jas Murray & Co / 107 Bourke St East / Melbournefrancis barnard, f g a barnard, high street - kew (vic), pharmacies - kew (vic), clocks, paton's pharmacy --- kew (vic.), bulleen road -- kew (vic.)

Clothing. High lace-edged round neckline - lace 1.3 cm deep. Long sleeves-gathered at the shoulder, and edged at the wrist with a 4.5 cm deep, gathered broderie anglais, featuring a shamrock, and flower design. The bodice has a centre front panel of lace. 9 cm wide at the neckline, tapering to 4 cm wide at the high waistline. This panel is edged with a 4 cm wide scalloped edge at the broiderie anglais trim. Three rows of pintucks, give a finish to the filigree braid, and the gathered broiderie frill. The long skirt is gathered at the lower bodice, and is 70 cms long. The lower 20.5 cms at the hemline has alternate bands of three pintucks, a 4 cm panel of flowers and cutwork broiderie, three pintucks, 4 cm panel panel of broiderie, three pintucks and a 4 cms deep machine stitched hem. Bodice has a back opening, with only one 1 cm diameter covered button evident, a cotton tape passes through a casing, and ties at the back waistline.costume, female, infants nightdress.

Fine white cotton, with a drawstring in a 1.5xcm deep casing around the waistline. Completely opened at centre front, through crotch, and up the centre back to within 14cm of the waistline. One dart on either side of front, and two darts on either side of back. Machine stitched. A 2.5cm wide cotton lace is inset into a zig zag pattern around each leg. In each V shape a 1.5cm lace insert in a fan,under the V shapes are inserted needle woven bows, shape is inserted. Seven extremely fine pin tucks border the edge of the legs, which have a three cm wide lace edging. Split drawers were worn in the era when women wore corsets. The split front and back allowed women to go to the toilet, as the corsets could not be removed to allow for an act of nature.Accompanying note - No date. The bloomers belonged to Miss Antoinette Catling of Bendigo and were part of her trousseaux. They would be 80+ years old. The linen bed jacket (11400.930) would be about the same age.costume, female, fine white cotton split drawers

The Junction Dam and Clover Dam Power Station, stages of the Kiewa Hydro-Electric Scheme, were needed to meet the increased power demands of the wartime industry in Victoria. Clover added 26 megawatts to the grid. Junction Dam was completed and ready to hold water by September 1943, but was emptied in December 1943 and not filled again until May 1944. Construction of Clover Power Station commenced in July 1941 and both turbines were in service by May 1945.Clover Power Station and Junction Dam were part of the Kiewa Hydro Electric Scheme constructed by the State Electricity Commission of VictoriaSet of black and white photographs taken by the official SECV photographer who gave each photo a number prefixed by K (for Kiewa) K1630- 23 Aug 1944 Clover Power Station K1633- no date Clover Power Station K1683- 10 Oct 1944 Weir K1700- no date Tail boy for Clover Power Station K1710- 11 Oct 1944 Part of aqueduct – Clover K1767- 6 Jan 1945 Switchboard in the power station K1769- 6 Jan 1945 Turbine and shaft K1770- 10 Jan 1945 Houses under construction at Bogong Village K1897- 22 Feb 1945 Equipment in the power station K1808- 22 Feb 1945 Equipment in the power station K1910- 31 May 1945 Top of the turbine and the shaft K1964- 16 Jul 1945 Equipment in the power station K1970- 17 Jul 1945 Bogong Village K1983- 30 Jul 1945 Turbine in power station K1984- 30 Jul 1945 Bogong Village K1989- 2 Aug 1945 Turbines in power station K1990- 2 Aug 1945 Equipment in power station K1991- 2 Aug 1945 Bogong village K2011- 28 Aug 1945 Equipment in power station K2015- 28 Aug 1945 Generators in power station K2016- 28 Aug 1945 Top of the turbine and the shaft K2018- 30 Aug 1945 Spiral casing, the turbine and the shaft On the back- each photograph has a handwritten reference number starting with K and the date stamped or writtensecv; kiewa hydro electric scheme; junction dam; clover power station; bogong

The clock 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. Thomas Gaunt History: 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. Post Office and Clock History: Warrnambool’s Post Office has been in existence since 1857, when it was originally situated on the corner of Timor and Gilles Street. In March 1864 the Warrnambool Borough Council purchased this clock from Henry Walsh Jnr. for the sum of £25, “to be put up in front of the Post Office”. Henry Walsh Jnr was the eldest son of Melbourne’s Henry Walsh, maker and retailer of clocks, watches, thermometers and jewellery. In 1854 Henry Walsh Jnr. began business in Warrnambool as a watchmaker and jeweller later becoming a Councillor with now a local street named after him. The Post Office was extensively remodelled in 1875-76. Early photographs of this building show that the clock was installed on the northern outside wall, Timor Street, under the arches and between the 2 centre windows, where it could be seen by passers-by. Although spring loaded clocks date back to the 15th century, and fob and pocket watches evolving from these date to the 17th century, personal pocket watches were only affordable to the very fortunate. Public clocks such as this Post Office clock provided opportunity for all to know the time, and for those in possession of a personal watch to check and set their own timepieces to the correct time. During post office reservations during the 1970s the clock was removed and was eventually donated to the Flagstaff Collection. The Clock’s maker Thomas Gaunt, is historically significant and was an established and well renowned scientific instrument and clock maker in Melbourne during the 1860s. He was at that time the only watchmaker in the Australian colonies. In the 1870’s and 1880’s he won many awards for his clocks and was responsible for sending time signals to other clocks in the city and rural areas, enabling many businesses and organisations to accurate set their clocks each day. Warrnambool Borough Council purchased this clock from Henry Walsh Jnr. for the sum of £25 and the clock used to stand in front of the Warrnambool post office to allow ordinary citizens to set their time pieces as they walked by. The item is not only important because it was made by a significant early colonial clock maker and retailed by a locally known clock maker and jeweler but also that it was installed in the Warrnambool Post Office a significantly historical building in it's own right. Built in 1857 and regarded as one of the oldest postal facilities in Australia, with a listing on the National Heritage Database, (ID 15656). This 1864 hall clock originates from the Warrnambool Post Office. The clock glass is hinged to the top of the clock face and has a catch at the bottom. The metal rim of the glass is painted black. The clock face is metal, painted white, with black Roman numerals and markings for minutes and five minutes. The tip of the small hour hand is shaped like a leaf. "T. GAUNT / MELBOURNE" is printed in black on the clock face. The winding key hole is just below the centre of the clock face. The key winds a fusee chain mechanism, attached to the brass mainspring barrel that powers the pendulum with an 8-day movement. The speed of the clock can be adjusted by changing the position of the weight on the pendulum, lengthening or shortening the swing; raising the pendulum shortens its swing and speeds up the clock. The metal fusee mechanism has an inscription on it. The rectangular wooden casing is with a convex curve at the bottom that has a hinged door with a swivel latch. The original stained surface has been painted over with a matte black. There are two other doors that also allow access to the clock’s workings. The case fits over the pendulum and workings at the rear and attaches to the clock by inserting four wooden pegs into holes in the sides of the case then into the back of the clock. A flat metal plate has been secured by five screws onto the top of the case and a hole has been cut into it for the purpose of hanging up the clock. There is a nail inside the case, possibly used for a place to the key."T. GAUNT MELBOURNE" is printed on the clock face. “6 1 3” embossed on the back of the fusee mechanism behind the clock. warrnambool, shipwrecked coast, flagstaff hill, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, shipwrecked artefact, clock, warrnambool post office, fusee, henry walsh jnr, thomas gaunt, t gaunt & co, post office clock

Clothing. Women's black embossed silk bodice. Part of two piece set (skirt 11410.2). Stand up lace collar (7 cm) boned on either side and edged with cream coloured lace. Collar fastened at centre back with three metal hooks and eyes. Front opening left of centre fastened with eight metal hooks and cotton loops and three across the left shoulder. Crossover section at front is pin tucked below the neckline and is tapered into the waist with centre pleats. Both sides of the crossover have decorative beading along the edges. The inner layer of the bodice is fastened at centre front with 15 metal hooks and eyes - alternating directions. The bodice is shaped from the waist with 9 boned casings. The back is shaped in at the waist finishing with two U shaped tails (11cm X 8cm) with V shaped tails (4 cm X 6cm) on either side. The waistline and tails are finished with a double row of decorative black beading. At the waistline at centre back are three metal hooks to attach bodice to skirt. Long sleeves are gathered at the shoulder, shaped at the elbow tapering to the wrist. Below the wrist is a two piece cuff (13cm X 7cm) with decorative black beading. The bodice is fully lined with light brown cotton fabric with grey splash pattern. Historical Notes: This bodice and skirt belonged to Elizabeth Graydon (nee Richardson). Photograph of Elizabeth wearing this outfit (11410.3).costume, female, women's black silk bodice