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Kew Historical Society Inc
Postcard, Rose Stereograph Company, The Yarra Looking East, Melbourne, Vic
One of a number of 'real photo' and commercial postcards created by or owned by members of the Christian and Washfold families of Kew. The postcards are part of a larger collection of photographs, postcards and publications donated to the collection in May 2021.View of Melbourne on the horizon, looking in an easterly direction along the River Yarra. A State Library of Victoria catalogue record says ‘Elevated view along Yarra River, trees in foreground, line of saplings along both banks of the river, bridge in background (possibly Johnson Street Bridge)’. This may be incorrect.The Rose Series P. 3480yarra river -- melbourne, postcards -- yarra river, the rose series postcards, christian-washfold collection -
Ambulance Victoria Museum
Document, Victorian Ambulance Service, Bank Pay Run, 4 December 1973
Pink dot matrix document with printer holes on both sides. 8 perforated pages and white National Bank of Australasia receipt stapled right corner.DEPOSIT FOR ACCOUNT AT THE NATIONAL BANK OF AUSTRALASIA LIMITEDfinance -
Vision Australia
Photograph - Image, W.H. Paterson - Blind Cricketers of Australia, 1957
When the Victorian Blind Cricket Association approached Mr Paterson for assistance in gaining access to a permanent cricket pitch upon which games could be played, it set in chain a series of events that remain in place today. Mr Paterson had been heavily involved in the formation of the Association for the Blind and saw this as a problem to be solved. Raising money through public donation and door knocking, Mr Paterson arranged the purchase of land on the banks of Gardiner's Creek, and adjacent to the tram and train lines. The land was raised, to avoid flooding, and a surface prepared. The sportsground was adjacent to the AAB, however due to the interest of Malvern Council in the land and knowing that the AAB at that time was in financial difficulties, a Trust was set up to handle the management with Mr Paterson, Mr Gould the Malvern Council Town Clerk and George Maxwell as trustees. A clubhouse was also needed to allow players to take shelter during matches and once again, Mr Paterson came to the rescue. Using their personal funds, Mr and Mrs Paterson loaned the Trust the monies required for the building. This plaque recognises the dedication and support that Mr Paterson gave to help establish the first blind cricket playing ground in Australia.Digital image of metal plaqueErected to the Memory of W.H. Paterson, M.B.E. Obit. Feb. 19 1957 By his personal efforts and sacrifice these playing fields were obtained and this clubhouse erected The first for blind cricket in Australia Erected by the Blind Cricketers of Victoria October 22nd 1957william paterson, victorian blind cricket association -
Surrey Hills Historical Society Collection
Photograph, Harry Culliton at Surrey Hills Golf Club
Reproduced by permission of Mr John Arnold from his book: "The Riversdale Golf Club - a history, 1892-1977." Copyright to book: Riversdale Golf Club. Surrey Hills Golf Club operated from 1892-1908 then moved and became Riversdale Golf Club. The game was played across paddocks from Trafalgar Street, Mont Albert to Whitehorse Road and down Victoria Crescent to where Box Hill TAFE is now located in Elgar Road. There were problems with cows eating the tee flags! The clubhouse still exists as 30 Trafalgar Street. The Surrey Hills Golf Club was founded by Mr Hugh W McLeod in 1894. The first president was Mr A W Harston. Mr William Meader was the first honorary secretary and the club champion for several years. Another notable identity was Mr. Harry Culliton, who contributed golf notes to "The Argus" for many years. Harry Culliton (clerk; later bank manager) married Christina Mary Rothwell of Surrey Hills in 1897. They initially live in Canterbury Road before moving to 'Bayview' in Harding Street. They had 3 sons. The eldest Kenneth Rothwell Culliton married Molly Fanny Arthur in 1940. They continued to live in 'Bayview'. Molly was a foundation member of the Surrey Hills Historical Society.The image is significant in documenting the Surrey Hills Golf Club, no longer in existence, but also members of early Surrey Hills families. Black and white photo showing a barbed wire and post fence behind which stands a man, identified as Harry Culliton. He is wearing a suit, cap and a tie. He sports a large 'handle-bar' moustache and is gripping an iron golf club, preparing to strike a golf ball which is impaled on the barbed wire.Caption: "Harry Culliton playing from the barbed wire where his ball was impaled on the fence on the side of the coffin. To his opponent's dismay he managed to land the ball near the green and get down in two for a half."sports grounds, surrey hills golf club, riversdale golf club, clothing and dress, john arnold, harry culliton -
8th/13th Victorian Mounted Rifles Regimental Collection
Legal record - Bank book, 1912 Circa
The 16th Light Horse Regiment was a Citizen Military Force unit located in North East Victoria with its Headquarters at Benalla. The regiment came into existence as part of a reorganisation of Australian Military Forces in 1912 replacing earlier Victorian Mounted Rifles units, and was in turn redesignated 8th Light Horse (Indi) Regiment in 1919.A rare bank book detailing how a CMF regiment conducted its financial affairs in the pre-World War 1 (1914-1918) period.Black clothboard covered bank book issued by the National Bank of Australasia Limited, Benalla Branch for the account of the 16th Light Horse Public Monies Account. The book was in use from December 1912 to March 1919.16th light horse, national bank of australasia, military, bank account, cmf -
Kew Historical Society Inc
Photograph, Anglo-Australasian Photographic Company, View of portion of the City of Sandhurst, as seen from the hill, Camp Reserve, c. 1876
Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography, National Centre of Biography, Australian National University, http://adb.anu.edu.au/biography/caire-nicholas-john-3139/text3683, published first in hardcopy 1969, accessed online 1 July 2016.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The series of 60 photographs that comprise the series was issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.Albumen Silver Photograph, mounted on Board.printed in ink on support l.c.: VIEW OF PORTION OF THE CITY OF SANDHURST, AS SEEN FROM THE HILL, CAMP RESERVE / COPYRIGHT REGISTERED. printed in ink on support reverse c.: VIEWS OF VICTORIA. / (GENERAL SERIES.) / No. 4. / VIEW OF PORTION OF THE CITY OF SANDHURST AS SEEN FROM THE HILL, CAMP RESERVE. / The Camp Reserve is the principal public promenade in this City. The Rotunda in the foreground, formerly used / by the local bands on festive occasions, is now regarded as a relic of the past. To the right of the picture is shown the / City of Sandhurst claim, supposed to be on the Hustler's line of reef. St. Paul's Church tower may be seen in the / distance. To the left of the picture Williamstown-street branches out from Pall Mall. On one side of the street is the / far-famed Shamrock Hotel; on the other stands the Bank of Australasia, with St. James's Hall immediately behind it. printed in ink on support reverse l.c.l.: J.W. FORBES, Agent, printed in ink on support reverse l.c.: ANGLO-AUSTRALASIAN PHOTOGRAPHIC COMPANY, MELBOURNE. printed in ink on support reverse l.c.r.: 10 Temple Court, Collins Street West.nicholas caire (1837-1918), landscape photography -
Kew Historical Society Inc
Photograph, Anglo-Australasian Photographic Company, Scene Near the Yarra Flats, c. 1876
Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The series of 60 photographs that comprise the series was issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.Views of Victoria (General Series) No.21 / ‘Scene near the Yarra Flats’ / Albumen silver photograph mounted on board.Inscription on reverse: ‘The scenery in the vicinity of the Yarra Flats is of a very varied character. In some places the River winds its way through flat open country, with scarcely a shrub on its banks; and in others the scenery is of the wildest description. The stream being impeded in its course by fallen timber, is not so rapid here as at other places. The present illustration is a characteristic one of the above place.’nicholas caire, australia - landscape photography -
Kew Historical Society Inc
Photograph, Anglo-Australasian Photographic Company, Waterfall Scene on the Coliban River, near Elphinstone, c. 1876
Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The series of 60 photographs that comprise the series was issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.Views of Victoria (General Series) No.23 / ‘Waterfall scene on the Coliban River, near Elphinstone’ / Albumen silver photograph mounted on boardOn reverse: ‘The scene this illustration presents is but one of the many that exist along the course of this shallow River, which, like its parent the Campaspe, abounds with rocky and romantic scenery. The fall of the River at this place is over one hundred feet, but is broken by a long course of rocks to the lower bed; the actual fall as seen is about forty feet. The Coliban, though only a branch of the Campaspe, derives its name from the fact that its course runs through the Coliban Park. Gold is found in considerable quantities along the banks and in the stream, but at the present time these diggings are worked only by Chinamen.’nicholas caire (1837-1918), australia - landscape photography -
Kew Historical Society Inc
Photograph, Anglo-Australasian Photographic Company, Scene on the River Campaspe, c. 1876
Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The series of 60 photographs that comprise the series was issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.Views of Victoria (General Series) No.25 / ‘Scene on the River Campaspe’ / Albumen silver photograph mounted on boardOn Reverse: ‘The River Campaspe flows into the River Murray, near the Town of Echuca. It is a river of considerable size, and is subject to frequent overflowing of its banks, in consequence of the low flat country through which it runs. Our illustration represents the River during one of the periodical floods, its depth being over thirty feet at the time.’nicholas caire (1837-1918), australia - landscape photography -
Kew Historical Society Inc
Photograph, Anglo-Australasian Photographic Company, Bend of the River Watt, c.1876
Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The series of 60 photographs that comprise the series was issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.Views of Victoria (General Series) No.26 / 'Bend of the River Watt' / Albumen silver photograph mounted on boardOn Reverse: 'The present illustration represents a scene on the River Watt, and is situated in the valley between Mount Juliet and Mount Monda. The immediate neighbourhood abounds with scenery of the wildest and most romantic character. The River here is as clear as crystal, owing, no doubt, to its bed being composed of rock and pebbles. The banks on either side are studded with foliage so dense as to render access to the neighbourhood almost impracticable.’nicholas caire (1837-1918), australia - landscape photography -
Kew Historical Society Inc
Photograph, Anglo-Australasian Photographic Company, Scene in the Carlton Gardens, c. 1876
Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The series of 60 photographs that comprise the series was issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.‘Scene in the Carlton Gardens’ : Views of Victoria (General Series) No.40 : Albumen silver photograph | Photo on card with Title and Description on reverse | Mounted 24 x 30 cm; Photo 12 x 17 cm.On Reverse: ‘The Carlton Gardens are not so extensive as most of the other public gardens around Melbourne, and, being laid out on a flat piece of ground, have not the advantage of possessing much that is romantic in its scenery. The subject of this issue is the only interesting spot within the enclosure, which is the Rustic Fountain, surrounded by a small lake of water, on the banks of which grow some very beautiful specimens of the hanging willow. These Gardens are open to the public at all times.’nicholas caire (1837-1918), carton gardens, exhibition building, landscape photography - victoria -
Kew Historical Society Inc
Photograph, Anglo-Australasian Photographic Company, Scene Near the Buffalo Mountains, c. 1876
Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The series of 60 photographs that comprise the series was issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.‘Scene near the Buffalo Mountains’ : Views of Victoria (General Series) No.41 : Albumen silver photograph | Photo on card with Title and Description on reverse | Mounted 24 x 30 cm; Photo 12 x 17 cm.On Reverse: ‘This scene is taken from the banks of the Buckland River, which is about five miles distant from the Buffalo Mountains, as seen in the distance. These mountains are frequently covered with snow, in consequence of their great altitude. The Buckland River is a small tributary of the Ovens River, which flows through the Beechworth district, and eventually finds its way to the River Murray. The Bridge which is seen on the right of the picture forms the roadway which leads from the Buckland Camp to the Township of Bright.’nicholas caire (1837-1918), landscape photography -
Kew Historical Society Inc
Photograph, J E & B L Rogers, 'Swinton', Swinton Avenue, c.1960
'The land on which 'Swinton'was later built was first purchased by John Bakewell in 1851 and later sold to Edmund Laskey Splatt in 1858. Splatt was a member of the first provisional committee of the National Bank of Australia in Melbourne and built the first house on the land naming it 'Laskey Villa'. By 1863 the house was occupied by Herbert Henty. The Johnson family connection with the property began with the marriage in 1858 of Annabella Johnson to David Syme, owner of the Áge' newspaper and owner of the adjacent property 'Blytheswood'. Annabella's brother, Francis Johnson, bought the villa in 1876 and renamed it 'Swinton' after his birthplace in Yorkshire. The property was later owned by the artistic Colquhoun family. The house is one of the earliest examples of the Italianate style in Victoria - the outstanding element being the tower with its cantilevered walkway and heavily bracketed pryamidal tower.' Source: Victorian Heritage RegisterThis work forms part of the collection assembled by the historian Dorothy Rogers, that was donated to the Kew Historical Society by her son John Rogers in 2015. The manuscripts, photographs, maps, and documents were sourced by her from both family and local collections or produced as references for her print publications. Many were directly used by Rogers in writing ‘Lovely Old Homes of Kew’ (1961) and 'A History of Kew' (1973), or the numerous articles on local history that she produced for suburban newspapers. Most of the photographs in the collection include detailed annotations in her hand. The Rogers Collection provides a comprehensive insight into the working habits of a historian in the 1960s and 1970s. Together it forms the largest privately-donated collection within the archives of the Kew Historical SocietySwinton in Kew and its tower. This side of the house faces the Yarra River.swinton, laskey villa, swinton avenue, kew, dorothy rogers -
Kew Historical Society Inc
Photograph, J E & B L Rogers, 'Swinton', Swinton Avenue, c.1960
This work forms part of the collection assembled by the historian Dorothy Rogers, that was donated to the Kew Historical Society by her son John Rogers in 2015. The manuscripts, photographs, maps, and documents were sourced by her from both family and local collections or produced as references for her print publications. Many were directly used by Rogers in writing ‘Lovely Old Homes of Kew’ (1961) and 'A History of Kew' (1973), or the numerous articles on local history that she produced for suburban newspapers. Most of the photographs in the collection include detailed annotations in her hand. The Rogers Collection provides a comprehensive insight into the working habits of a historian in the 1960s and 1970s. Together it forms the largest privately-donated collection within the archives of the Kew Historical Society."The land on which Swinton was later built was first purchased by John Bakewell in 1851 and later sold to Edmund Laskey Splatt in 1858. Splatt was a member of the first provisional committee of the National Bank of Australia in Melbourne and built the first house on the land naming it Laskey Villa. By 1863 the house was occupied by Herbert Henty. The Johnson family connection with the property began with the marriage in 1858 of Annabella Johnson to David Sym - owner of The Age newspaper and owner of the adjacent property Blytheswood. Annabella's brother, Francis Johnson, bought the villa in 1876 and renamed it Swinton after his birthplace in Yorkshire. The property was later owned by the artistic Colquhoun family. The house is one of the earliest examples of the Italianate style in Victoria - the outstanding element being the tower with its cantilevered walkway and heavily bracketed pyramidal tower. (Source: Victorian Heritage Database)"Swinton. Built about 1959-60. Chap.20 Swinton. Johnson - Col"swinton, swinton avenue (kew) -
Kew Historical Society Inc
Photograph - Aerial Photograph, Division of Survey and Mapping, Department of Property and Services, City of Kew, Scale 1 : 3,000, 1989
... kilometres east of Melbourne, the state capital of Victoria..., the state capital of Victoria, Australia, on the southeast bank ...The City of Kew was a local government area about 4 kilometres east of Melbourne, the state capital of Victoria, Australia, on the southeast bank of the Yarra River. The city covered an area of 14.56 square kilometres, and existed from 1860 until 1994.Very large aerial photograph of “City of Kew” Scale 1 : 3,000. 1989. “City of Kew” Scale 1 : 3,000. 1989. Photomosaic compiled by Division of Survey and Mapping, Department of Property and Services. © Crown (State of Victoria) Copyright 1990.city of kew, kew (vic.), aerial photography -
Kew Historical Society Inc
Equipment, The Econasign Co Ltd, The "Econasign" Bijou Super Outfit, 1929-1947
Econasign kits were aimed at small businesses who could use the transparent stencils for the manufacturing of “showcards, price tickets, posters, labels, etc…..by a simple operation of printing by means of transparent stencils.Intact printing kit used in a notable Kew pharmaceutical business.A kit of printing equipment for commercial small display signage. Box and contents produced by the "Econasign" Co. Ltd. 137 Victoria Street, London S.W.1. The box includes a booklet, sample blank paper signs, a brush, and a book of plastic templates. The latter indicates that the kit was distributed by an Australian Agent - J. Raeburn Miller, 8 Bank of NSW Chamber, 280 Castlereagh St., SydneyTyped label on interior: "Donated by the descendants of Charles Gilbert Wood (1891-1948) Pharmacist of 235 High Street, Kew, Vic, / and / Donald Charles Wood (1920-1948) Pharmacist of 283 Doncaster Road, North Balwyn, Vic."econasign, pharmacy printing equipment, charles gilbert wood, donald charles wood -
Flagstaff Hill Maritime Museum and Village
Instrument - Clock, ca. 1861
... Library in Melbourne in 1934 (now Museum Victoria). The Bank... Library in Melbourne in 1934 (now Museum Victoria). The Bank ...This wall clock originated from the Bank of Australasia. The label on the base matches other items from the same donor. It was spring powered by winding the key mechanism with the clock's key through the hole in the clock face. The hinged door on the base of the clock's case allows access to the clock's working mechanism. James Murray (son of James Murray 1780-1847) was a maker of clocks and chronometers. He worked at No. 1, Royal Exchange, London and from 1861 at 107 Great Bourke Street, Melbourne. In 1854 William Kerr ordered a clock from James Murray and erected it on the Albert Street frontage of the National Model & Training School in Spring Street Melbourne. It was Melbourne's first turret clock and remained there for 80 years before it was transferred to the Public Library in Melbourne in 1934 (now Museum Victoria). The Bank of Australasia was incorporated by Royal Charter of England in March 1834. It had its Australian beginning on 14th December 1835, opening in Sydney. The Acting Superintendent of the bank at that time was David Charters McArthur. He was Superintendent from 1867-to 1876. The Melbourne branch opened on 28th August 1838 in a two-roomed brick cottage on the north side of Little Collins Street, where two huge mastiff dogs were used at night to guard the bank. The government also provided an armed military sentinel. Due to the bank's rapid growth, a new building for the Melbourne branch was opened in 1840 at 75 Collins Street West. By 1879 the bank had been upgraded to a magnificent two-storey building on the corners of Collins and Queens Streets, with the entry on Collins Street. In 1951 the Bank of Australasia amalgamated with the Union Bank to form the Australia and New Zealand Bank, now known as the ANZ. Then in 1970, the ANZ merged with both the ES&A and the London Bank of Australia to form the ANZ Banking Group Limited. The ANZ Banking Group Ltd kindly donated a variety of historic items from the Bank of Australasia. BANK of AUSTRALASIA, WARRNAMBOOL – In 1854 Warrnambool had two banks, the Union Bank and the Bank of Australasia. Later, completely different bank businesses opened; in 1867 the National Bank of Australasia, then in 1875 the Colonial Bank of Australasia. The original Warrnambool branch of the Bank of Australasia was established in July 1854, and operated from a leased cottage on Merri Street, close to Liebig Street. The bank next bought a stone building previously erected by drapers Cramond & Dickson on the corner of Timor and Gibson Streets. Samuel Hannaford was a teller and then Manager at the Warrnambool branch from 1855 to 1856 and the Warrnambool Council chose that bank for its dealings during 1856-57. In 1859 Roberts & Co. was awarded the contract to build the new Bank of Australasia branch for the sum of £3,000. The land was on a sand hill on the northeast corner of Timor and Kepler Streets and had been bought in 1855 from investor James Cust. The new building opened on May 21, 1860. The bank continued to operate there until 1951 when it merged with the Union Bank to form the ANZ Bank, which continued operating from its Liebig Street building. Warrnambool City Council purchased the former Bank of Australasia building in 1971 and renovated it, then on 3rd December 1973 it was officially opened as the Art Gallery by Cr. Harold Stephenson and Gallery Director John Welsh. The Gallery transferred to the purpose-built building in Liebig Street in 1986 and the old bank building is now the Gallery club. Staff at the Bank of Australasia in Warrnambool included the following men but others were also involved: Samuel Hannaford, Teller then Manager from 1855-1856; W H Palmer, Manager from January 1857 until November 1869 when the Teller Basil Spence was promoted to Manager; H B Chomley, Manager from April 1873 and still there in 1886; A Butt, Manager in 1895-1904; J R McCleary Accountant and Acting Manager for 12 months, until 1900; A Kirk, Manager 1904; J Moore, staff until his transfer to Bendigo in December 1908; J S Bath was Manager until 1915; C C Cox, Manager until April 1923; Richard C Stanley, Manager 1923 to April 1928. The clock has significance through its association with the Bank of Australasia. The early Australian bank was established in 1834 by Royal Charter and opened in Sydney, Australia, in Sydney in 1835. The bank had many Australian offices in November 1877, particularly on the east and south coasts. Victoria had 45 percent of all Offices. The clock is significant for its connection with the quality clockmaker James Murray, originally from Royal Exchange London with a branch that opened in Melbourne in 1861. James Murray is renown for making the first turret clock to be installed in Melbourne. The clock is locally significant for its association with the Warrnambool Bank of Australasia, which was established in 1854. It was Warrnambool Council’s first bank. The bank continued to operate until the organisation's merger in 1951 when it became the ANZ Bank Group today. The Bank was an integral part of the growth of local commerce and the community.Wall clock with a round face behind glass in a wooden case. The painted brass face has Roman numerals, two decorative hands, divisions for minutes and a keyhole. The curved base of the case has a hinged access door with a keyhole and adhesive label. The back of the clock's case has metal mounting brackets. Inscriptions on the rectangular white label. Made by James Murray, Melbourne.Face: "JAMES MURRAY / - GT. BOURKE ST. / MELBOURNE / & / ROYAL EXCHANGE / LONEON" Label: "A M / 40"flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, bank of australasia, boa, union bank, australia & new zealand bank, anz bank, james murray, clock, wall clock, great bourke street melbourne, royal exchange london, william kerr, turret clock, old model school, national model & training school, access door, winding key -
Flagstaff Hill Maritime Museum and Village
Plaque - Insignia, Bank of Australasia, 16-10-1980
This plaque displays the Bank of Australia's Coat of Arms and is significant because is ts the symbol printed on the Bank Notes of the Bank of Australasia. The bank of Australasia was incorporated by Royal Charter of England in March 1834. It had its Australian beginning on 14th December 1835, opening in Sydney. The Acting Superintendent of the bank at that time was David Charters McArthur. He was Superintendent from 1867-to 1876. The Melbourne branch opened on 28th August 1838 in a two-roomed brick cottage on the north side of Little Collins Street, where two huge mastiff dogs were used at night to guard the bank. The government also provided an armed military sentinel. Due to the bank's rapid growth, a new building for the Melbourne branch was opened in 1840 at 75 Collins Street West. By 1879 the bank had been upgraded to a magnificent two-storey building on the corners of Collins and Queens Streets, with the entry on Collins Street. In 1951 the Bank of Australasia amalgamated with the Union Bank to form the Australia and New Zealand Bank, now known as the ANZ. Then in 1970, the ANZ merged with both the ES&A and the London Bank of Australia to form the ANZ Banking Group Limited. The ANZ Banking Group Ltd kindly donated a variety of historic items from the Bank of Australasia. BANK of AUSTRALASIA, WARRNAMBOOL – In 1854 Warrnambool had two banks, the Union Bank and the Bank of Australasia. Later, completely different bank businesses opened; in 1867 the National Bank of Australasia, then in 1875 the Colonial Bank of Australasia. The original Warrnambool branch of the Bank of Australasia was established in July 1854, and operated from a leased cottage on Merri Street, close to Liebig Street. The bank next bought a stone building previously erected by drapers Cramond & Dickson on the corner of Timor and Gibson Streets. Samuel Hannaford was a teller and then Manager at the Warrnambool branch from 1855 to 1856 and the Warrnambool Council chose that bank for its dealings during 1856-57. In 1859 Roberts & Co. was awarded the contract to build the new Bank of Australasia branch for the sum of £3,000; the firm built the Warrnambool Post Office in 1856 and purchased land in Timor Street in 1858. The land was on a sand hill on the northeast corner of Timor and Kepler Streets and had been bought in 1855 from investor James Cust. The new building opened on May 21, 1860. The bank continued to operate there until 1951 when it merged with the Union Bank to form the ANZ Bank, which continued operating from its Liebig Street building. Warrnambool City Council purchased the former Bank of Australasia building in 1971 and renovated it, then on 3rd December 1973 it was officially opened as the Art Gallery by Cr. Harold Stephenson and Gallery Director John Welsh. The Gallery transferred to the purpose-built building in Liebig Street in 1986 and the old bank building is now the Gallery club. Staff at the Bank of Australasia in Warrnambool included the following men but others were also involved: Samuel Hannaford, Teller then Manager from 1855-1856; Hawkins, Manager in 1856, W H Palmer, Manager from January 1857 until November 1869 when the Teller Basil Spence was promoted to Manager; H B Chomley, Manager from April 1873 and still there in 1886; A Butt, Manager in 1895-1904; J R McCleary Accountant and Acting Manager for 12 months, until 1900; A Kirk, Manager 1904; J Moore, staff until his transfer to Bendigo in December 1908; J S Bath was Manager until 1915; C C Cox, Manager until April 1923; Richard C Stanley, Manager 1923 to April 1928. The plaque with the insignia has significance through its association with the Bank of Australasia. The early Australian bank was established in 1834 by Royal Charter and opened in Sydney, Australia, in Sydney in 1835. The bank had many Australian offices in November 1877, particularly on the east and south coasts. Victoria had 45 per cent of all Offices. The plaque is locally significant for its association with the Warrnambool Bank of Australasia, which was established in 1854. It was Warrnambool Council’s first bank. The bank continued to operate until the organisation's merger in 1951 when it became the ANZ Bank Group today. The Bank was an integral part of the growth of local commerce and the community.Insignia of the Bank of Australasia. Cast metal coat of arms within a gold, shield-shaped border, painted gold and red, with blue, black and white details. Decals in each corner; upper left and lower right have a white sheep suspended by a blue ribbon, upper right and lower left have a 3-masted, square-rigged sailing ship with a black hull and red flags flying on each mast, sailing on waves with storm clouds in the sky. Between the emblems are gold stars.Decals; ships, sheep, starsflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, bank of australasia, boa, union bank, australia & new zealand bank, anz bank, david charters mcarthur, d c mcarthur, currency, banknote, commerce, banking, heraldic shield, insignia, samuel hannaford -
Flagstaff Hill Maritime Museum and Village
Currency - Bank exchange note, Perkins, Bacon and Perch, 14-10--1847
This exchange note was issued by the Bank of Australasia to Mr N A Coleman for one hundred pounds paid n 14th October 1847 at the Sydney branch. The interest rate was three per cent. This exchange note displays the insignia of the Bank of Australasia, which was incorporated by Royal Charter of England in March 1834. The bank began in Australia on 14th December 1835, opening in Sydney. The Acting Superintendent of the bank at that time was David Charters McArthur. He was Superintendent from 1867-to 1876. The Melbourne branch opened on 28th August 1838 in a two-roomed brick cottage on the north side of Little Collins Street, where two huge mastiff dogs were used at night to guard the bank. The government also provided an armed military sentinel. Due to the bank's rapid growth, a new building for the Melbourne branch was opened in 1840 at 75 Collins Street West. By 1879 the bank had been upgraded to a magnificent two-storey building on the corners of Collins and Queens Streets, with the entry on Collins Street. In 1951 the Bank of Australasia amalgamated with the Union Bank to form the Australia and New Zealand Bank, now known as the ANZ. Then in 1970, the ANZ merged with both the ES&A and the London Bank of Australia to form the ANZ Banking Group Limited. The ANZ Banking Group Ltd kindly donated a variety of historic items from the Bank of Australasia. BANK of AUSTRALASIA, WARRNAMBOOL – In 1854 Warrnambool had two banks, the Union Bank and the Bank of Australasia. Later, completely different bank businesses opened; in 1867 the National Bank of Australasia, then in 1875 the Colonial Bank of Australasia. The original Warrnambool branch of the Bank of Australasia was established in July 1854, and operated from a leased cottage on Merri Street, close to Liebig Street. The bank next bought a stone building previously erected by drapers Cramond & Dickson on the corner of Timor and Gibson Streets. Samuel Hannaford was a teller and then Manager at the Warrnambool branch from 1855 to 1856 and the Warrnambool Council chose that bank for its dealings during 1856-57. In 1859 Roberts & Co. was awarded the contract to build the new Bank of Australasia branch for the sum of £3,000. The land was on a sand hill on the northeast corner of Timor and Kepler Streets and had been bought in 1855 from investor James Cust. The new building opened on May 21, 1860. The bank continued to operate there until 1951 when it merged with the Union Bank to form the ANZ Bank, which continued operating from its Liebig Street building. Warrnambool City Council purchased the former Bank of Australasia building in 1971 and renovated it, then on 3rd December 1973 it was officially opened as the Art Gallery by Cr. Harold Stephenson and Gallery Director John Welsh. The Gallery transferred to the purpose-built building in Liebig Street in 1986 and the old bank building is now the Gallery club. Staff at the Bank of Australasia in Warrnambool included the following men but others were also involved: Samuel Hannaford, Teller then Manager from 1855-1856; W H Palmer, Manager from January 1857 until November 1869 when the Teller Basil Spence was promoted to Manager; H B Chomley, Manager from April 1873 and still there in 1886; A Butt, Manager in 1895-1904; J R McCleary Accountant and Acting Manager for 12 months, until 1900; A Kirk, Manager 1904; J Moore, staff until his transfer to Bendigo in December 1908; J S Bath was Manager until 1915; C C Cox, Manager until April 1923; Richard C Stanley, Manager 1923 to April 1928. The bank exchange note has significance through its association with the Bank of Australasia. The early Australian bank was established in 1834 by Royal Charter and opened in Sydney, Australia, in Sydney in 1835. The bank had many Australian offices in November 1877, particularly on the east and south coasts. Victoria had 45 percent of all Offices. The object is locally significant for its association with the Warrnambool Bank of Australasia, which was established in 1854. It was Warrnambool Council’s first bank. The bank continued to operate until the organisation's merger in 1951 when it became the ANZ Bank Group today. The Bank was an integral part of the growth of local commerce and the community.Bank exchange note for the Bank of Australasia, Sydney, manufactured by Perkins, Bacon and Perch, printed in brown. Insignia depicts a heraldic shield with a lion and unicorn on either side and another insignia with "B of A". Exchange note paid on 14th October 1847. Issued for one hundred pounds and paid to Mr N A Coleman.. Inscriptions include the document number, the date, the amount paid, the receiving person, signatures and a stamp with the interest rate.Handwritten number "15101" "One hundred pounds" "14th October [18] 47" "Mr N A Coleman" Black stamp "ISSUED AT 3 PR CENT PREMIUM" Signatures of [Manager] and [Accountant].flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, banknote, currency, exchange note, commerce, banking, finances, bank of australasia, n a coleman, 1847, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, boa, union bank, australia & new zealand bank, anz bank, david charters mcarthur, d c mcarthur, sydney, new south wales, legal tender -
Flagstaff Hill Maritime Museum and Village
Currency - Bank cheque, Sands & McDougall Limited, 03-12-1885
This bank cheque originated from the Bank of Australasia, Melbourne branch. It was issued on 3rd December 1885 to a person surnamed Slater for £71.11.5 (seventy-one pounds, eleven shillings and five pence). The parallel lines are called Cheque Crossed and mean that only Slater and no one else could receive the payment and that it would have been paid into Slater's bank account, not exchanged for cash. The embossed dots signify that the cheque amount was also paid to be the bearer of the cheque. Slater would have visited the bank to deposit the money into his or her own account. The cheque was printed by Sands & McDougall, a long-standing Melbourne printing and stationery company. It was then Stamped at the bank with its own unique number before it was issued to the customer. From its previously perforated edges, it is presumed that the cheque was part of a page of cheques, likely to be contained within a book of similar cheques ready for use. The Bank of Australia was incorporated by Royal Charter of England in March 1834. It had its Australian beginnings on 14th December 1835, opening in Sydney. The Acting Superintendent of the bank at that time was David Charters McArthur. He was Superintendent from 1867-to 1876. The Melbourne branch opened on 28th August 1838 in a two-roomed brick cottage on the north side of Little Collins Street, where two huge mastiff dogs were used at night to guard the bank. The government also provided an armed military sentinel. Due to the bank's rapid growth, a new building for the Melbourne branch was opened in 1840 at 75 Collins Street West. By 1879 the bank had been upgraded to a magnificent two-storey building on the corners of Collins and Queens Streets, with the entry on Collins Street. In 1951 the Bank of Australasia amalgamated with the Union Bank to form the Australia and New Zealand Bank, now known as the ANZ. Then in 1970, the ANZ merged with both the ES&A and the London Bank of Australia to form the ANZ Banking Group Limited. The ANZ Banking Group Ltd kindly donated a variety of historic items from the Bank of Australasia. BANK of AUSTRALASIA, WARRNAMBOOL – In 1854 Warrnambool had two banks, the Union Bank and the Bank of Australasia. Later, completely different bank businesses opened; in 1867 the National Bank of Australasia, then in 1875 the Colonial Bank of Australasia. The original Warrnambool branch of the Bank of Australasia was established in July 1854, and operated from a leased cottage on Merri Street, close to Liebig Street. The bank next bought a stone building previously erected by drapers Cramond & Dickson on the corner of Timor and Gibson Streets. Samuel Hannaford was a teller and then Manager at the Warrnambool branch from 1855 to 1856 and the Warrnambool Council chose that bank for its dealings during 1856-57. In 1859 Roberts & Co. was awarded the contract to build the new Bank of Australasia branch for the sum of £3,000. The land was on a sand hill on the northeast corner of Timor and Kepler Streets and had been bought in 1855 from investor James Cust. The new building opened on May 21, 1860. The bank continued to operate there until 1951 when it merged with the Union Bank to form the ANZ Bank, which continued operating from its Liebig Street building. Warrnambool City Council purchased the former Bank of Australasia building in 1971 and renovated it, then on 3rd December 1973 it was officially opened as the Art Gallery by Cr. Harold Stephenson and Gallery Director John Welsh. The Gallery transferred to the purpose-built building in Liebig Street in 1986 and the old bank building is now the Gallery club. Staff at the Bank of Australasia in Warrnambool included the following men but others were also involved: Samuel Hannaford, Teller then Manager from 1855-1856; W H Palmer, Manager from January 1857 until November 1869 when the Teller Basil Spence was promoted to Manager; H B Chomley, Manager from April 1873 and still there in 1886; A Butt, Manager in 1895-1904; J R McCleary Accountant and Acting Manager for 12 months, until 1900; A Kirk, Manager 1904; J Moore, staff until his transfer to Bendigo in December 1908; J S Bath was Manager until 1915; C C Cox, Manager until April 1923; Richard C Stanley, Manager 1923 to April 1928. The bank cheque has significance through its association with the Bank of Australasia. The early Australian bank was established in 1834 by Royal Charter and opened in Sydney, Australia, in Sydney in 1835. The bank had many Australian offices in November 1877, particularly on the east and south coasts. Victoria had 45 percent of all Offices. The bank cheque is significant as an early example of financial management of money and money exchange or transfer.Bank cheque of the Bank of Australasia, Melbourne branch. The rectangular paper has three sides that have been perforated. It is printed in blue with bank's Insignia of a heraldic shield of sheep hung by their waists and ships in full sail. Embossed Stamp Duty mark. Embossed dots. Handwritten black ink details Dated 3rd Dec 1885. Printed in Melbourne by Sands & McDougall. Diagonal parallel lines are across the cheque. Printed: "Bank of Australasia, MELBOURNE (75 COLLINS ST. WEST)." "454,358" "Sands & McDougall, Melbourne" Embossed stamp: Symbol of Crown above double oval lines " - STAMP DUTY" "ONE PENNY" Embossed dots forming test "7 PAID T2" Handwritten: "3rd Dec. [188] 5" "134 - Slater" "Seventy one pounds 11/S 5p" "£71.11.5" Signature: (undecipherable) flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, bank cheque, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, bank of australasia, boa, union bank, australia & new zealand bank, anz bank, bank note, melbourne, slater, sands & mcdougall, chrssed cheque, embossed dots, paid cheque -
Flagstaff Hill Maritime Museum and Village
Container - Ink Bottle and Pen, Caldwell’s Ink Factory, Early 20th century
This shaped ink bottle made by Caldwell's is called a 'boat ink bottle'. It was shaped especially to hold a nib pen when the pen was not in use. The design of the bottle is sometimes called a ‘cottage’ or ‘boat’ shape. The Caldwell’s handmade glass ink bottle was mouth-blown into a two-piece mould, a method often used in the mid-to-late 19th century. The glass blower burst the bottle off the end of his blowpipe with a tool, leaving an uneven mouth and sharp edge on the bottle, which was usually filed. The bottle was then filled with ink and sealed with a cork. More expensive bottles would have a lip added, which was more time-consuming and costly to produce. The capacity for a bottle such as this was about 3 ½ oz (ounces) equal to about 100 ml. Pen and ink have been in use for handwriting since about the seventh century. A quill pen made from a bird’s feather was used up until around the mid-19th century. In the 1850s a steel point nib for the dip pen was invented and could be manufactured on machines in large quantities. The nis only held a small amount of ink so users had to frequently dip the nib into an ink well for more ink. Handwriting left wet ink on the paper, so the blotting paper was carefully used to absorb the excess ink and prevent smudging. Ink could be purchased as a ready-to-use liquid or in powdered form, which needed to be mixed with water. In the 1880s a successful, portable fountain pen gave smooth-flowing ink and was easy to use. In the mid-20th century, the modern ballpoint pen was readily available and inexpensive, so the fountain pen lost its popularity. However, artisans continue to use nib pens to create beautiful calligraphy. Caldwell’s Ink Co. – F.R. Caldwell established Caldwell’s Ink Company in Australia around 1902. In Victoria, he operated from a factory at Victoria Avenue, Albert Park, until about 1911, then from Yarra Bank Road in South Melbourne. Newspaper offices were appointed as agencies to sell his inks, for example, in 1904 the New Zealand Evening Star sold Caldwell’s Flo-Eesi blue black ink in various bottle sizes, and Murchison Advocate (Victoria) stocked Caldwell’s ink in crimson, green, blue black, violet, and blue. Caldwell’s ink was stated to be “non-corrosive and unaffected by steel pens”. A motto used in advertising in 1904-1908 reads ‘Makes Writing a Pleasure’. Stationers stocked Caldwell’s products and hawkers sold Caldwell’s ink stands from door to door in Sydney in the 1910s and 1920s. In 1911 Caldwell promised cash for returned ink bottles and warned of prosecution for anyone found refilling his bottles. Caldwell’s Ink Stands were given as gifts. The company encouraged all forms of writing with their Australian-made Flo-Eesi writing inks and bottles at their impressive booth in the ‘All Australian Exhibition’ in 1913. It advertised its other products, which included Caldwell’s Gum, Caldwell’s Stencil Ink (copy ink) and Caldwell’s Quicksticker as well as Caldwell’s ‘Zac’ Cough Mixture. Caldwell stated in a 1920 article that his inks were made from a formula that was over a century old, and were scientifically tested and quality controlled. The formula included gallic and tannic acids and high-quality dyes to ensure that they did not fade. They were “free from all injurious chemicals”. The permanent quality of the ink was important for legal reasons, particularly to banks, accountants, commerce, municipal councils and lawyers. The Caldwell’s Ink Company also exported crates of its ink bottles and ink stands overseas. Newspaper advertisements can be found for Caldwell’s Ink Company up until 1934 when the company said they were the Best in the business for 40 years.This pen and ink bottle set is of significance as the bottle has its original cork and retains remnants of ink, which was made from a recipe that at the time was over 100 years old, according to Caldwell.. The handmade, mould blown method of manufacture is representative of a 19th-century handcraft industry that is now been largely replaced by mass production. The bottle and its contents are of state significance for being produced by an early Melbourne industry and exported overseas. The pen and ink set is historically significant as it represents methods of handwritten communication that were still common up until the mid-20th century when fountain pens and modern ballpoint pens became popular and convenient and typewriters were becoming part of standard office equipment.Victorian boat ink bottle; small rectangular clear glass ink bottle with horizontal grooves made in the glass for resting and holding the pen. The set includes one pen and nib with the bottle and cork. The bottle is made by Caldwell's and contains its Flo-Eesi Blue Black Ink brand."Caldwell's Flo-Eesi Blue Black Ink."flagstaff hill, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, ink, nib pen, writing ink, writing, copying, banks, lawyers, commerce, student, permanent ink, flo-eesi, blue black ink, stationery, record keeping, handwriting, writing equipment, writing accessory, office supply, cottage bottle, boat bottle, mouth-blown bottle, two-part mould, sheer-lip bottle, burst-lip, cork seal, f r caldwell, caldwell’s ink company, albert park, south melbourne, inkstands, stencil ink, copy ink, quicksticker, zac cough mixture -
Flagstaff Hill Maritime Museum and Village
Container - Ink Bottles, Caldwell’s Ink Factory, Early 20th century
This crate of bottles may have come from a wholesaler, business, stationer or school. The design of the bottles is sometimes called a ‘cottage’ or ‘boat’ shape. Each of the 70 Caldwell’s handmade glass ink bottles was mouth-blown into a two-piece mould, a method often used in the mid-to-late 19th century. The glass blower burst the bottle off the end of his blowpipe with a tool, leaving an uneven mouth and sharp edge on the bottle, which was usually filed. The bottle was then filled with ink and sealed with a cork. More expensive bottles would have a lip added, which was more time-consuming and costly to produce. The capacity for a bottle such as this was about 3 ½ oz (ounces) equal to about 100 ml. Pen and ink have been in use for handwriting since about the seventh century. A quill pen made from a bird’s feather was used up until around the mid-19th century. In the 1850s a steel point nib for the dip pen was invented and could be manufactured on machines in large quantities. The nis only held a small amount of ink so users had to frequently dip the nib into an ink well for more ink. Handwriting left wet ink on the paper, so the blotting paper was carefully used to absorb the excess ink and prevent smudging. Ink could be purchased as a ready-to-use liquid or in powdered form, which needed to be mixed with water. In the 1880s a successful, portable fountain pen gave smooth-flowing ink and was easy to use. In the mid-20th century, the modern ballpoint pen was readily available and inexpensive, so the fountain pen lost its popularity. However, artisans continue to use nib pens to create beautiful calligraphy. Caldwell’s Ink Co. – F.R. Caldwell established Caldwell’s Ink Company in Australia around 1902. In Victoria, he operated from a factory at Victoria Avenue, Albert Park, until about 1911, then from Yarra Bank Road in South Melbourne. Newspaper offices were appointed as agencies to sell his inks, for example, in 1904 the New Zealand Evening Star sold Caldwell’s Flo-Eesi blue black ink in various bottle sizes, and Murchison Advocate (Victoria) stocked Caldwell’s ink in crimson, green, blue black, violet, and blue. Caldwell’s ink was stated to be “non-corrosive and unaffected by steel pens”. A motto used in advertising in 1904-1908 reads ‘Makes Writing a Pleasure’. Stationers stocked Caldwell’s products and hawkers sold Caldwell’s ink stands from door to door in Sydney in the 1910s and 1920s. In 1911 Caldwell promised cash for returned ink bottles and warned of prosecution for anyone found refilling his bottles. Caldwell’s Ink Stands were given as gifts. The company encouraged all forms of writing with their Australian-made Flo-Eesi writing inks and bottles at their impressive booth in the ‘All Australian Exhibition’ in 1913. It advertised its other products, which included Caldwell’s Gum, Caldwell’s Stencil Ink (copy ink) and Caldwell’s Quicksticker as well as Caldwell’s ‘Zac’ Cough Mixture. Caldwell stated in a 1920 article that his inks were made from a formula that was over a century old, and were scientifically tested and quality controlled. The formula included gallic and tannic acids and high-quality dyes to ensure that they did not fade. They were “free from all injurious chemicals”. The permanent quality of the ink was important for legal reasons, particularly to banks, accountants, commerce, municipal councils and lawyers. The Caldwell’s Ink Company also exported crates of its ink bottles and ink stands overseas. Newspaper advertisements can be found for Caldwell’s Ink Company up until 1934 when the company said they were the Best in the business for 40 years.This large collection of similar ink bottles is of particular significance as the bottles have come from the same source, most have their original corks and some retain their original labels, which is rare. The method of manufacture of these bottles is also representative of a 19th-century handcraft industry that is now been largely replaced by mass production. The bottles and their contents are of state significance for being produced by an early Melbourne industry and exported overseas. This case of ink bottles is historically significant as it represents methods of handwritten communication that were still common up until the mid-20th century when fountain pens and modern ballpoint pens became popular and convenient and typewriters were becoming part of standard office equipment.Ink bottles in a wooden crate; 70 rectangular, hand-blown clear glass ink bottles. They have side seams, uneven thickness, especially at the bases, and rough, burst-off mouths. The shoulders on the long sides have horizontal grooves used for pen rests. The bottles vary; some have labels, some contain remnants of blue-black ink, and many have their original corks. The glass has bubbles and imperfections. The remnants of printed labels are on white paper with a swirly border and black text. The bottles contained Caldwell’s blend of blue black ‘Flo-Eesi’ ink.Printed on label; “CALDWELL FLO-EESI BLUE BLACK INK” “ - - - - “ Printed script signature “F.R. Caldwell”flagstaff hill, warrnambool, maritime village, maritime museum, shipwreck coast, great ocean road, ink, nib pen, writing ink, writing, copying, banks, lawyers, commerce, student, permanent ink, flo-eesi, blue black ink, stationery, record keeping, handwriting, writing equipment, writing accessory, office supply, cottage bottle, boat bottle, mouth-blown bottle, two-part mould, sheer-lip bottle, burst-lip, cork seal, f r caldwell, caldwell’s ink company, albert park, south melbourne, inkstands, stencil ink, copy ink, quicksticker, zac cough mixture -
Flagstaff Hill Maritime Museum and Village
Container - Ink Bottle, Caldwell’s Ink Factory, Late 19th to early 20th centuries
This design of the bottle is sometimes called a ‘cottage’ or ‘boat’ shape. The Caldwell’s handmade glass ink bottle was mouth-blown into a three-piece mould, a method often used in the late 19th and early 20th centuries, with the maker's name engraved into the mould section for the base. The glass blower would cut the bottle off the end of his blowpipe with a tool and join a mouth onto the top, rolling the lip. The bottle was then filled with ink and sealed with a cork. This method of manufacture was more time-consuming and costly to produce than those made in a simple two-piece mould and 'cracked' off the blowpipe. The capacity for a bottle such as this was about 3 ½ oz (ounces) equal to about 100 ml. This particular bottle is unusual as it has four sloping indents at the corners of the shoulder, most likely for resting a pen with its nib upwards and the handle resting on a flat surface. Most of the bottles made during this era had horizontal pen rests that were indented into both of the long sides of the shoulder. Pen and ink have been in use for handwriting since about the seventh century. A quill pen made from a bird’s feather was used up until around the mid-19th century. In the 1850s a steel point nib for the dip pen was invented and could be manufactured on machines in large quantities. This only held a small amount of ink so users had to frequently dip the nib into an ink well for more ink. Handwriting left wet ink on the paper, so the blotting paper was carefully used to absorb the excess ink and prevent smudging. Ink could be purchased as a ready-to-use liquid or in powdered form, which needed to be mixed with water. In the 1880s a successful, portable fountain pen gave smooth-flowing ink and was easy to use. In the mid-20th century, the modern ballpoint pen was readily available and inexpensive, so the fountain pen lost its popularity. However, artisans continue to use nib pens to create beautiful calligraphy. Caldwell’s Ink Co. – F.R. Caldwell established Caldwell’s Ink Company in Australia around 1902. In Victoria, he operated from a factory at Victoria Avenue, Albert Park, until about 1911, then from Yarra Bank Road in South Melbourne. Newspaper offices were appointed as agencies to sell his inks, for example, in 1904 the New Zealand Evening Star sold Caldwell’s Flo-Eesi blue black ink in various bottle sizes, and Murchison Advocate (Victoria) stocked Caldwell’s ink in crimson, green, blue black, violet, and blue. Caldwell’s ink was stated to be “non-corrosive and unaffected by steel pens”. A motto used in advertising in 1904-1908 reads ‘Makes Writing a Pleasure’. Stationers stocked Caldwell’s products and hawkers sold Caldwell’s ink stands from door to door in Sydney in the 1910s and 1920s. In 1911 Caldwell promised cash for returned ink bottles and warned of prosecution for anyone found refilling his bottles. Caldwell’s Ink Stands were given as gifts. The company encouraged all forms of writing with their Australian-made Flo-Eesi writing inks and bottles at their impressive booth in the ‘All Australian Exhibition’ in 1913. It advertised its other products, which included Caldwell’s Gum, Caldwell’s Stencil Ink (copy ink) and Caldwell’s Quicksticker as well as Caldwell’s ‘Zac’ Cough Mixture. Caldwell stated in a 1920 article that his inks were made from a formula that was over a century old, and were scientifically tested and quality controlled. The formula included gallic and tannic acids and high-quality dyes to ensure that they did not fade. They were “free from all injurious chemicals”. The permanent quality of the ink was important for legal reasons, particularly to banks, accountants, commerce, municipal councils and lawyers. The Caldwell’s Ink Company also exported crates of its ink bottles and ink stands overseas. Newspaper advertisements can be found for Caldwell’s Ink Company up until 1934 when the company said they were the Best in the business for 40 years.This hand-blown bottle is significant for being the only bottle in our collection with the unusual sloping pen rests on its shoulder. It is also significant for being made in a less common three-piece mould. The method of manufacture is representative of a 19th-century handcraft industry that is now been largely replaced by mass production. The bottle is of state significance for being produced by an early Melbourne industry and exported overseas. This ink bottle is historically significant as it represents methods of handwritten communication that were still common up until the mid-20th century when fountain pens and modern ballpoint pens became popular and convenient and typewriters were becoming part of standard office equipment.Ink bottle; rectangular base, hand-blown clear glass bottle with its own cork. The bottle has side seams from the base to the mouth, an indented base and an applied lip. The corners of the shoulder sides have unusual diagonal grooves that slope down and outwards that may have been used as pen rests. Inside the bottle are remnants of dried blue-black ink. The glass has imperfections and some ripples on the surface. The bottle has an attached oval black label label with gold-brown printed text and border. The base has an embossed inscription. The bottles once contained Caldwell’s blend of blue black ink.Printed on label; “CALDWELL's BLUE BLACK INK” Embossed on the base "CALDWELLS"flagstaff hill, warrnambool, maritime village, maritime museum, shipwreck coast, great ocean road, ink, nib pen, writing ink, writing, copying, banks, lawyers, commerce, student, permanent ink, blue black ink, stationery, record keeping, handwriting, writing equipment, writing accessory, office supply, cottage bottle, boat bottle, mouth-blown bottle, cork seal, f r caldwell, caldwell’s ink company, albert park, south melbourne, inkstands, stencil ink, copy ink, quicksticker, zac cough mixture, three part mould, cauldwells, cauldwell's -
Yarra Glen & District Historical Society
Black and white photographs, Bell Street Yarra Glen looking north c.1900
View of Bell Street Yarra Glen looking north from junction with King Street. On left hand side is Scott & Allen's General Store, next to that is a bootmaker, then the house of Charles Bath, the Grand Hotel and the Colonial Bank building. On the eastern side of Bell Street (right hand side of photograph) is the Victoria Hall. Beyond that is W.J.Dawborn's General Store, then Smith's bakery, and on top of the hill the trees surrounding 'Point Pleasant' owned by the Herbert family.yarra glen, point pleasant, grand hotel, victoria hall, bell street, charles bath, general store, colonial bank, bank building, w j dawborn, scott and allen, bootmaker, smith, bakery, baker s shop, herbert -
Yarra Glen & District Historical Society
Black and white postcards, Bell St Yarra Glen c.1900
Photograph taken from the junction of Bell and King Streets looking north up Bell Street early 20th century. On the eastern side of Bell Street (left hand side of photograph) is the Victoria Hall. Behind the hall is a newsagency and behind that is the bakery. The pine trees at the top of the hill are at 'Point Pleasant', home of the Herbert family. On the western side of Bell Street can be seen the Grand Hotel and the Colonial Bank. The street trees are in wooden tree guards. In the middle foreground are two men in a buggy drawn by two horses.On back of the postcard at the top "POST CARD". Under those words are "CORRESPONDENCE" on the left and "ADDRESS ONLY" on the right.yarra glen, point pleasant, victoria hall, horse drawn vehicle, bell street, bakery, herbert, newsagency, newsagent, bakers shop, horse buggy, buggy -
Flagstaff Hill Maritime Museum and Village
Functional object - Vase, circa 1944
This vase, one of a part of a pair of organ vases, was part of the original furnishings of the St Nicholas' Mission to Seamen's Church at 139 Nelson Place, Williamstown, Victoria. THE MISSIONS TO SEAMEN (Brief History: for more, see our Reg. No. 611, Set of Pews) The Missions to Seamen, an Anglican charity, has served seafarers of the world since 1856 in Great Britain. It symbol is a Flying Angel, inspired by a Bible verse. Today there are centr4es in over 200 ports world-wide where seamen of all backgrounds are offered a warm welcome and provided with a wide range of facilities. In Victoria the orgainsation began in Williamstown in 1857. It was as a Sailors’ Church, also known as ‘Bethel’ or the ‘Floating Church’. Its location was an old hulk floating in Hobson’s Bay, Port of Melbourne. It soon became part of the Missions to Seamen, Victoria. In the year 2000 the organisation, now named Mission to Seafarers, still operated locally in Melbourne, Portland, Geelong and Hastings. The Ladies’ Harbour Lights Guild was formed in 1906 to support the Missions to Seamen in Melbourne and other centres such as Williamstown. Two of the most significant ladies of the Guild were founder Ethel Augusta Godfrey and foundation member Alice Sibthorpe Tracy (who established a branch of the Guild in Warrnambool in 1920). The Guild continued its work until the 1960s. In 1943 a former Williamstown bank was purchased for the Missions to Seaman Club. The chapel was named St Nicholas’ Seamen’s Church and was supported by the Ladies’ Harbour Lights Guild, the Williamstown Lightkeepers’ Auxiliary and the League of Soldiers’ and Sailors’ Friends. It ceased operation in 1966. A Missions to Seamen Chapel and Recreation Room was a significant feature of ports during the late 1800s and into the 1900s. It seemed appropriate for Flagstaff Hill to include such a representation within the new Maritime Village, so the Melbourne Board of Management of Missions to Seamen Victoria gave its permission on 21st May 1979 for the entire furnishings of the Williamstown chapel to be transferred to Flagstaff Hill. The St Nicholas Seamen’s Church was officially opened on October 11, 1981 and closely resembles the Williamstown chapel. This vase, and its pair, is significant through its association with the St Nicholas' Mission to Seamen Church in Williamstown, Melbourne, established in 1857. The items in our collection from the Missions to Seamen in Williamstown, Victoria, have historical and social significance. They show that people of the 1800s and 1900s cared about the seafarers’ religious, moral, and social welfare, no matter what the religion, social status or nationality. It had its origins in Bristol, England when a Seamen's Mission was formed in 1837. The first Australian branch was started in 1856 by the Rev. Kerr Johnston, a Church of England clergyman, and operated from a hulk moored in Hobson’s Bay; later the Mission occupied buildings in Williamstown and Port Melbourne. Vase, one of a pair, of organ vases, polished brass church vases with truncated conical shapes. White sticker under vase with hand written number "136" This is one of the original items in our ‘St Nicholas Seamen's Church Williamstown Collection’.White sticker under vase with hand written number "136" flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, vase, church vase, brass vase, conical vase, religion, religious service, sailors rest, bethel sailors’ church, bethel floating church, ladies harbour light guild, missions to seamen victoria, mission to seafarers, st nicholas seaman’s church williamstown, st nicholas mission to seamen church williamstown, mission to seamen williamstown, st nicholas seamen’s church flagstaff hill, 139 nelson place williamstown, flying angel club, organ vase -
Flagstaff Hill Maritime Museum and Village
Ceremonial object - Plate, circa 1943
This plate, a polished brass altar salver, is part of the original furnishings of St Nicholas Church, Williamstown, Victoria. The church was operated by the Missions to Seamen organisation. The plate is sometimes called a salver, a paten or a communion plate. It is used for serving the communion bread. The plate was presented to the Mission to Seamen, in memory of Kenneth Wyatt McVilly, who passed away on December 4th 1943. The letters on the lip of the plate, A.D.G., stand for the Greek Alpha Delta Gamma, and are used to represent "For the Glory of God". THE MISSIONS TO SEAMEN (Brief History: for more, see our Reg. No. 611, Set of Pews) The Missions to Seamen, an Anglican charity, has served seafarers of the world since 1856 in Great Britain. It symbol is a Flying Angel, inspired by a Bible verse. Today there are centr4es in over 200 ports world-wide where seamen of all backgrounds are offered a warm welcome and provided with a wide range of facilities. In Victoria the orgainsation began in Williamstown in 1857. It was as a Sailors’ Church, also known as ‘Bethel’ or the ‘Floating Church’. Its location was an old hulk floating in Hobson’s Bay, Port of Melbourne. It soon became part of the Missions to Seamen, Victoria. In the year 2000 the organisation, now named Mission to Seafarers, still operated locally in Melbourne, Portland, Geelong and Hastings. The Ladies’ Harbour Lights Guild was formed in 1906 to support the Missions to Seamen in Melbourne and other centres such as Williamstown. Two of the most significant ladies of the Guild were founder Ethel Augusta Godfrey and foundation member Alice Sibthorpe Tracy (who established a branch of the Guild in Warrnambool in 1920). The Guild continued its work until the 1960s. In 1943 a former Williamstown bank was purchased for the Missions to Seaman Club. The chapel was named St Nicholas’ Seamen’s Church and was supported by the Ladies’ Harbour Lights Guild, the Williamstown Lightkeepers’ Auxiliary and the League of Soldiers’ and Sailors’ Friends. It ceased operation in 1966. A Missions to Seamen Chapel and Recreation Room was a significant feature of ports during the late 1800s and into the 1900s. It seemed appropriate for Flagstaff Hill to include such a representation within the new Maritime Village, so the Melbourne Board of Management of Missions to Seamen Victoria gave its permission on 21st May 1979 for the entire furnishings of the Williamstown chapel to be transferred to Flagstaff Hill. The St Nicholas Seamen’s Church was officially opened on October 11, 1981 and closely resembles the Williamstown chapel. This memorial plate is significant as it is associated with a member of the community, Kenneth McVilly, and was presented in his memory after he died in o1943. This plate is significant historically for its origin in the St Nicholas Mission to Seamen's Church in Williamstown, established in 1857 to cater for the physical, social, and spiritual needs of seafarers. It originated in Bristol, England when a Seamen's Mission was formed in 1837. Plate, polished brass altar salver, or communion plate. It is round with decorative initials in the centre. Outer lip has an inscription of dedication to Kenneth Wyatt McVilly, December 4th 1943. This plate is in our St Nicholas Seamen's Church Collection. “A.D.G. / and in memory of / KENNETH WYATT MCVILLY / December 4th 1943” and initials "I H S"flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, religion, church furnishings, mission to seamen victoria, st nicholas church williamstown, brass plate, kenneth wyatt mcvilly, altar salvar, religious service, memorial plate, altar salver, communion plate, paten, communion service, a d g -
Flagstaff Hill Maritime Museum and Village
Document - Bank notice, List of Offices, ca Nov. 1877
The addresses given on the List for the London and Melbourne offices have connected the document to the Bank of Australasia. The List is dated November 1877 and shows the number and the location of all of the branches of the Bank at that point in time., a total of 77. - Victoria 35, New South Wales 14, Queensland 2, Tasmania 5, South Australia 5, New Zealand 16 Copies of the notice would have been displayed in all branches of the bank in both Australia and New Zealand to inform customers and perhaps impress them too with a large number of locations and the reference to the bank's connection with London. This document gives information on all bank offices throughout Australia and New Zealand. It refers to the Superintendent's Office address at 75 Collins Street West, Melbourne and is dated November 1877. This places the document at the time just before the new Melbourne office opened on the corner of Collins Street and Queen's Street in 1879. The Bank of Australasia was incorporated by Royal Charter of England in March 1834. It came to Australia on 14th December 1835, opening in Sydney. The Acting Superintendent of the Bank of Australasia in Sydney at that time was David Charters McArthur. He was Superintendent from 1867-to 1876. The Melbourne branch of the Bank of Australasia opened on 28th August 1838 in a two-roomed brick cottage on the north side of Little Collins Street. Two huge mastiff dogs were kept in the backyard and let loose at night to guard the bank. The government also provided an armed military sentinel. Due to the bank's rapid growth, a new building for the Melbourne branch was opened in 1840 at 75 Collins Street West. By 1879 the bank had been upgraded to a magnificent two-storey building on the corners of Collins and Queens Streets, with the entry on Collins Street. In 1951 the Bank of Australasia amalgamated with the Union Bank to form the Australia and New Zealand Bank, now known as the ANZ. Then in 1970, the ANZ merged with both the ES&A and the London Bank of Australia to form the ANZ Banking Group Limited. The ANZ Banking Group Ltd kindly donated a variety of historic items from the Bank of Australasia. BANK of AUSTRALASIA, WARRNAMBOOL – In 1854 Warrnambool had two banks, the Union Back and the Bank of Australasia. Later, completely different bank businesses opened; in 1867 the National Bank of Australasia, then in 1875 the Colonial Bank of Australasia. The original Bank of Australasia was established in Warrnambool in July 1854, and operated from a leased cottage on Merri Street, close to Liebig Street. The bank bought a stone building previously erected by drapers Cramond & Dickson on the corner of Timor and Gibson Streets. Samuel Hannaford was a teller and then Manager at the Warrnambool branch from 1855 to 1856. Warrnambool’s Council chose the Bank of Australasia as its bank 1856-57. In 1859 Roberts & Co. was awarded the contract to build the new Bank of Australasia branch for the sum of £3,000. The land was on a sand hill on the northeast corner of Timor and Kepler Streets and had been bought in 1855 from investor James Cust. The new building opened on May 21, 1860. The bank continued to operate there until 1951 when it merged with the Union Bank to form the ANZ Bank, which continued operating from its Liebig Street building. Warrnambool City Council purchased the former Bank of Australasia building in 1971 and renovated it, then on 3rd December 1973 it was officially opened as the Art Gallery by Cr. Harold Stephenson and Gallery Director John Welsh. The Gallery transferred to the purpose-built building in Liebig Street in 1986 and the old bank building is now the Gallery club. The List of Offices of the Bank of Australasia has early Australian historical significance through its association with the Bank, which was established in 1834 by Royal Charter and opened in Sydney, Australia, in Sydney in 1835. The List is significant for showing the number and location of all of the Offices of the Bank of Australia in November 1877. This shows that Victoria had 45 percent of all Offices. The framed document is locally significant for its association with the Bank of Australasia, Warrnambool's first bank, established in 1854. The bank continued to operate until the organisation's merger in 1951. It became the ANZ Bank, which is still in operation today. The Bank was an integral part of the establishment and growth of commerce in Colonial Warrnambool and throughout Australia.Document in a decorative gilt frame. Titled List of Bank Offices and dated November 1877, facsimile. Offices include London, and a variety of offices in Victoria, New South Wales, Queensland, Tasmania, South Australia and New Zealand. Round holes in the centre top and bottom of the frame. Text includes: "LONDON: 4 THREADNEEDLE STREET, E.C." "SUPERINTENDENT'S OFFICE: / 75 COLLINS STREET WEST, MELBOURNE" "Warrnambool" " November 1877" flagstaff hill, warrnambool, bank of australasia 1877, branches of bank of australasia 1877, banks in australia 1877, commerce 1877, shipwreck-coast, document, bank document, flagstaff hill maritime museum & village, bank of australasia, 1877, branches in australia, bank of london, offices in australia, offices in new zealand, commerce, banking, finance, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, boa, union bank, australia & new zealand bank, anz bank, david charters mcarthur, d c mcarthur, sydney, new south wales, currency, banknote, legal tender, list of bank offices -
Greensborough Historical Society
Article - Article (copy), Anne Paul, The Greensborough Batman apple tree story, by Anne Paul, 2012_08
Story of the origin of the apple tree planted on the east bank of the Plenty River, Greensborough, which has been confirmed as coming from John Batman's orchard in 1841, making it probably the oldest apple tree in Victoria.2 p. Text with colour photographsbatman apple tree, plenty river, whatmough apple tree -
Halls Gap & Grampians Historical Society
Photograph - B/W, c 1844
This property was known as Mokepilly Station ( name on back of photo is spelt 'Mokepilli'.For further reference see p.2,p.92,116,119,121, Victoria's Wonderland.Photo shows a body of water in foreground with a collection of buildings on opposite bank. there are a number of large gum trees on both sides of water. The buildings appear to be a farmhouse and outbuildings that have thatched roofs. There is extensive fencing.buildings, houses