Originally labelled "Beauville Estate, Established 1936, Still Thriving 65 years on, 10th March 2001", the Beauville Estate Album contains colour photographs of houses in the Estate. They were taken around the time of the Beauville Estate’s 65th Heritage Celebration held on 10/03/2001 and donated to the Caulfield Historical Society shortly afterwards. Photographer unknown.City of Glen Eira’s Heritage Management Plan Vol 2 p79 (this is p84 of the pdf version) – HO12 Beauville Estate and environs, Murrumbeena: The Beauville Historic Area is important at the State level as the first large housing estate undertaken by the AV Jennings Construction Co, later Jennings Group Limited, Victoria’s largest home builder. It is important also as a very early estate development incorporating a range of features other than houses and including made roads, shops and recreation facilities. In this respect it was the forerunner of the comprehensively planned housing estate of the post war era. The estate is distinguished by its aesthetic values, as is the earlier and comparable Hillcrest Estate, which are formed by a combination of restrained diversity in house styles, with the exception of no. 30 in the emerging International style, and by a landscaped garden environment. Colour photograph of unpainted brick house with decorative brick features and also cream render features. Other features include a curved wall porch with a crenelated parapet, tiled roof, dormer window and striped awnings on the ground floor windows. A tree branch can be seen in the foreground.murrumbeena, houses, beauville avenue, architectural styles, 1930's, inter war style, a.v. jennings, av jennings, jennings, brick houses, beauville estate, porches, sir albert victor jennings, a v jennings construction co, beauville estate heritage area, glen eira city council, architectural features, jennings group limited, land subdivision, gardens, beauville historic area, towers, dormer windows, striped awnings, brick and cream render features

Originally labelled "Beauville Estate, Established 1936, Still Thriving 65 years on, 10th March 2001", the Beauville Estate Album contains colour photographs of houses in the Estate. They were taken around the time of the Beauville Estate’s 65th Heritage Celebration held on 10/03/2001 and donated to the Caulfield Historical Society shortly afterwards. Photographer unknown. City of Glen Eira’s Heritage Management Plan Vol 2 p79 (this is p84 of the pdf version) – HO12 Beauville Estate and environs, Murrumbeena: The Beauville Historic Area is important at the State level as the first large housing estate undertaken by the AV Jennings Construction Co, later Jennings Group Limited, Victoria’s largest home builder. It is important also as a very early estate development incorporating a range of features other than houses and including made roads, shops and recreation facilities. In this respect it was the forerunner of the comprehensively planned housing estate of the post war era. The estate is distinguished by its aesthetic values, as is the earlier and comparable Hillcrest Estate, which are formed by a combination of restrained diversity in house styles, with the exception of no. 30 in the emerging International style, and by a landscaped garden environment. Colour photograph of a fence with four rows of unpainted variegated brown bricks at the bottom and six cream rendered columns topped by two rows of the same unpainted bricks. Timber pickets painted in the same colour complete the fence between the columns. The pitched roof of the rendered house can be seen in the background and the gable has a simple aeroplane-like decoration. Tall trees are behind and in the foreground. murrumbeena, houses, architectural styles, 1930's, inter war style, a.v. jennings, av jennings, jennings, brick houses, beauville estate, gloucester court, sir albert victor jennings, a v jennings construction co, beauville estate heritage area, glen eira city council, architectural features, jennings group limited, land subdivision, gardens, beauville historic area, rendered houses, timber and brick fences

This set of kitchen dry food canisters is made of metal; each container has a different height, width and capacity. The rolled thin metal has created a strong, round design with decorative rings on the circumference. The base and close-fitting lid protect the contents from vermin and most insects, and the handle on top aids in the removal of the lid. Metal containers like these are reusable and can be re-purposed, which is advantageous when living in regional or rural areas. The type of manufacture indicates that the set was made in the late 19th to early 20th century. Gradually, colourful and attractive plastic kitchenware began to replace metalware. One of the canisters is labelled 'coffee'; coffee plants and seeds were transported from Brazil into Australia in 1788 when the First Fleet arrived although their growth was unsuccessful. However, by the 1920s, a tenth of the Australian population was drinking readily stored coffee. Large quantities of harvested grains such as maize, wheat and barley were protected from pests by being stored in airy buildings, often raised from the ground. This was an age-old practice used by civilizations such as the ancient Egyptians and early Hebrews. Smaller quantities of food for short-term use in the homes were stored in woven baskets or clay pots.This set of kitchen food containers is an example of colonial food storage used in a domestic setting to store and preserve dry ingredients. These canisters give a snapshot of early domestic life in Australia. Canister set; four cylindrical cream coloured metal canisters with domed lids that have lift-up handles on top. They are made from rolled metal and the bases and lids have a side seam. Each canister is a different size and displays a label for different contents. The adhesive labels are vertical, and a gold colour with black vertical text. The cream paint has brush strokes and small areas have exposed green paint under the cream. The insides of the bases are painted dark grey but the lids have no paint underneath. The empty canisters can fit one inside the other. Labels, in descending order: "FLOUR" "RICE" "SAGO" "COFFEE"flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, canister set, kitchen storage, food storage, metal canisters, dry food storage, food packaging, kitchen container, vintage, flour, rice, sago, coffee, kitchenalia, late 19th to early 20th centuries, nesting canisters

Frank Wright wrote the following tribute to Percy Campbell which was printed in the Ballarat Courier. "With the passing of Percy Campbell, Ballarat has lost its best known and most distinguished musician. His was no ordinary talent, but an inborn musicianship touched with genius. He was a critic of the keenest perception and many able musicians sought his advice on technical matters over a wide range. His ear was of the most sensitive kind, and among his unusual accomplishments was that rarity among musicians, "absolute pitch." Those of us who knew him well will reflect with pride that we were privileged to journey with him for a little while along life's highway. Percy Campbell belonged to Ballarat, and to Ballarat's music. He was part of the city itself. Handicapped through partial blindness from birth, there can be no doubt that had he been in full possession of his faculties, and been able to travel, his name would have been known in every corner of the world."Four page programme printed in brown ink on cream paper. the concert was held at Albert Hall Ballaratfrank wright, j c rowe, albert hall, percy campbell, monica righetti, star for opera quest, william ritchie, robert lemke, ballarat soldiers memorial band, bert rasmussen, ellinor morcom, south street society, righetti, morcom

This report lists the depths of water and the consistency of the seabed surrounding the Warrnambool Harbour in October 1929, The information, often referred to as 'soundings', was obtained by Jet Probing,. In earlier days a lead line was used to perform a similar task. The author of the document is unknown. Jet Probing is a method used for underwater archaeology, cable installation and coastal engineering. A jet probe is a machine that produces a strong jet of water that penetrates the layers of sediment on the seabed, determining their depth, thickness and consistency. It provides a survey of the seabed and can be used as an aid to engineering design and construction. The report mentions lining up with the wooden jetty, the end of the breakwater and the leading lights. It mentions sand, loose rock and rock. It tells of stopping work due to the water being too rough, the pipe choking, difficulty in connecting pipes, and pipe joint breaking as it tried to get through the sand, The report in the document is significant for its connection with the Warrnambool Harbour, Warrnambool Breakwater, Warrnambool Jetty and Lady Bay. The report gives figures for the depth and consistency of the water and seabed at a particular point in time and can be used to compart with similar figures taken at different times. The results could determine plans for future engineering works.Report, titled 'Jet Probings, Warrnambool Harbour'. Two pages of cream coloured paper with hand written notes in pen and ink. Report covers three days of Jet Probings, with resulting figures and comments, for the depths of the surroundings of the Warrnambool Harbour. The report is in point form, with some underlining. Dates of recordings are 14-10-29, 15-10-29 and 16-10-29. (1929) The situation of the harbour had become a real problem by 1910 and required continuous dredging. In 1914 the Breakwater was extended but proved to be a failure because the work began to subside and by 1920 about two thirds of the harbour was silted up. Alterations made in the 1920's increased the silting problem. The soundings and Jet Probings were done after the Royal Commission of 1923, when the damaged stonework on the seaward side of the Warrnambool Breakwater, caused by the action of the sea, was the subject of enquiry. A conference between the Public Works, Water Commission and the Harbour Trust concluded that it would less costly to make repairs to prevent further damage rather than replaced the damage portion of the wall. A contract was raised in late 1924 to deposit rubble on the damaged side of the breakwater to minimise the Southern Ocean’s destructive action and work had started by August 1925. By the 1940's the harbour was no longer used. More alterations were made in the 1950's and 1960's. document, depth, warrnambool harbour, 1929, soundings, jet probe, jet probing, seabed, map of seabed, underwater engineering, warrnambool jetty, warrnambool breakwater, breakwater upgrade, leading lights, chart the harbour, flagstaff hill, warrnambool, flagstaff hill maritime museum & village, maritime museum, maritime village, shipwreck coast, lady bay, port of warrnambool, breakwater, jetty, pier, vhr h2024, royal commission, 1923, public works, water commission, harbour trust, victorian harbours

The Process of Making Pottery Decorating, Firing, Glazing, Making, Technical There is a rhythm and flow to clay. It can’t be done all at once! Even the making process! It can take weeks to get everything done, especially if you can only work on your pottery once a week! Even though we have three hour classes, it’s often just not enough time! Here is an overview of some of the processes so you have a bit more grasp on some of the technical stuff! Step One – Design There are SO many ideas out there for making stuff in clay! From delicate porcelain jewellery, through to heavy sculptural work and everything in between. Deciding your direction is sometimes not that easy – when you first start, try everything, you will naturally gravitate to the style that you enjoy! The options and variations are endless and can get a wee bit overwhelming too! Check in with me before you start to ensure your ideas will work, what order you might do things, how you could achieve the look you are seeking and any other technical data required! Step Two – Making Clay is thixotropic. This means that as you work with it, the clay first gets sloppier and wetter, before is begins to dry in the atmosphere. For most things, you simply can’t do all parts of the project at once. An example of work order might look like: Get last weeks work out from the shelves Prepare clay for today’s work – roll your clay, prepare balls for throwing, make the first stage of a pinch pot) Clean up last week’s work and put it on the shelf for bisque firing Check that you have any glazing to do – and do enough of it that you will have time to finish your main project Do the next step of your next project – there might be a further step that can’t be complete immediately, in that case, wrap your work well and put onto the shelves. Letting your work rest for a while can really help keep your work clean and professional looking. Many things require bagging under plastic to keep it ready for work the next week – put your name on the outside of the bag so you can find your work easily. We have stickers and markers. Consider how you want to decorate your work – coloured slip can be applied at a fairly wet stage (remembering that it will make your work even wetter!). Trying to apply slip to dry clay won’t work! If you want to do sgraffito – you will need to keep the work leather hard (a state of dryness where you can still work the clay with a little effort and a little water and care). Step Three – Drying Most of the time your work can go into the rack uncovered to let it dry out for the following week. If you want to continue forming or shaping you will need to double bag your work – put your work on a suitable sized bat and put the bat in a bag so the base of the bag is under the bat, then put another bag over the top of the work and tuck the top of the bag under the bat. If you want to trim (or turn) your thrown work the following week, it should also be double bagged. If your work is large, delicate, or of uneven thicknesses, you should lightly cover your work for drying. When considering the drying process, bare in mind the weather, humidity and wind! The hotter and dryer, the faster things dry and work can dry unevenly in the shelves – this can lead to cracking – another time to lightly cover your work for drying. Step Four – Trimming and Cleaning Up Your work is dry! It is called greenware now and it is at it’s most fragile! Handle everything with two hands. I often refer to soft hands – keep everything gentle and with your fingers spread as much as possible. Try to not pick up things like plates too much, and always with both hands! Before your work can be bisque fired it should be “cleaned up”. You work won’t go into the kiln if it has sharp edges – when glazed, sharp edges turn into razor blades! Use a piece of fly wire to rub the work all over – this will scratch a little so be light handed. Use a knife or metal kidney to scrape any areas that require a bit more dynamic treatment than the fly wire offers! Finally, a very light wipe over with a slightly damp sponge can help soften and soothe all of your edges and dags! Trimming thrown work: If you are planning to trim (or turn) your thrown work (and you should be), make sure you bag it well – your work should be leather hard to almost dry for easiest trimming. Use this step to finish the work completely – use a metal kidney to polish the surface, or a slightly damp sponge to give a freshly thrown look. Wipe the sponge around the rim after trimming, and check the inside of the pot for dags! Trimming slip cast work: Usually I will trim the rims of your work on the wheel the following day to make that stage easier, however you will still need to check your work for lumps and bumps. Last but not least – check that your name is still clearly on the bottom of your work. Step Five – Bisque Firing When the work is completely dry it can go into the bisque kiln. The bisque kiln is fired to 1000°C. This process burns off the water in the clay as well as some of the chemically bound water. The structure of the clay is not altered that much at this temperature. Inside the bisque kiln, the work is stacked a little, small bowl inside a larger bowl and onto a heavy plate. Smaller items like decorations or drink coasters might get stacked several high. Consideration is paid to the weight of the stack and shape of the work. A bisque kiln can fire about one and a half times the amount of work that the glaze kiln can fire. The firing takes about 10 hours to complete the cycle and about two days to cool down. Once it has been emptied the work is placed in the glaze room ready for you to decorate! Step Six – Glazing Decorating your work with colour can be a lot of fun – and time consuming! There are three main options for surface treatment at this stage: Oxide Washes Underglazes Glazes Washes and underglazes do not “glaze” the work – It will still need a layer of glaze to fully seal the clay (washes don’t need glaze on surfaces not designed for food or liquid as they can gloss up a little on their own). Underglazes are stable colourants that turn out pretty much how they look in the jar. They can be mixed with each other to form other colours and can be used like water colours to paint onto your work. Mostly they should have a clear glaze on top to seal them. Oxides are a different species – the pink oxide (cobalt) wash turns out bright blue for instance. They don’t always need a glaze on top, and some glazes can change the colour of the wash! The glazes need no other “glaze” on top! Be careful of unknown glaze interactions – you can put any combination of glaze in a bowl or on a plate, but only a single glaze on the outside of any vertical surface! Glazes are a chemical reaction under heat. We don’t know the exact chemicals in the Mayco glazes we use. I can guess by the way they interact with each other, however, on the whole, you need to test every idea you have, and not run the test on a vertical surface! Simply put, glaze is a layer of glass like substance that bonds with the clay underneath. Clay is made of silica, alumina and water. Glaze is made of mostly silica. Silica has a melting point of 1700°C and we fire to 1240°C. The silica requires a “flux” to help it melt at the lower temperature. Fluxes can be all sorts of chemicals – a common one is calcium – calcium has a melting point of 2500°C, however, together they both melt at a much lower temperature! Colourants are metal oxides like cobalt (blue), chrome (green through black), copper (green, blue, even red!), manganese (black, purple and pink) iron (red brown), etc. Different chemicals in the glaze can have dramatic effects. for example, barium carbonate (which we don’t use) turns manganese bright pink! Other elements can turn manganese dioxide brown, blue, purple and reddish brown. Manganese dioxide is a flux in and of itself as well. So, glazes that get their black and purple colours, often interact with other glazes and RUN! Our mirror black is a good example – it mixes really well with many glazes because it fluxes them – causes them to melt faster. It will also bring out many beautiful colours in the glazes because it’s black colouring most definitely comes from manganese dioxide! Glaze chemistry is a whole subject on it’s own! We use commercial Mayco glazes on purpose – for their huge range of colour possibilities, stability, cool interactions, artistic freedom with the ability to easily brush the glazes on and ease of use. We currently have almost 50 glazes on hand! A major project is to test the interactions of all glazes with each other. That is 2,500 test tiles!!!! I’m going to make the wall behind the wheels the feature wall of pretty colours! Step Seven – Glaze (Gloss or sometimes called “Glost”) Firing Most of the time this is the final stage of making your creation (but not always!) The glaze kiln goes to 1240°C. This is called cone 6, or midrange. It is the low end of stoneware temperatures. Stoneware clays and glazes are typically fired at cone 8 – 10, that is 1260 – 1290°C. The energy requirement to go from 1240°C to 1280°C is almost a 30% more! Our clay is formulated to vitrify (mature, turn “glass-like”) at 1240°, as are our glazes. A glaze kiln take around 12 hours to reach temperature and two to three days to cool down. Sometimes a third firing process is required – this is for decoration that is added to work after the glaze firing. For example – adding precious metals and lustres. this firing temperature is usually around 600 – 800°C depending upon the techniques being used. There are many students interested in gold and silver trims – we will be doing this third type of firing soon! After firing your work will be in the student finished work shelves. Remember to pay for it before you head out the door! There is a small extra charge for using porcelain clay (it’s more than twice the price of regular clay), and for any third firing process! Once your work has been fired it can not turn back into clay for millennia – so don’t fire it if you don’t like it! Put it in the bucket for recycling. https://firebirdstudios.com.au/the-process-of-making-pottery/Ceramics have evolved over thousands of years.Earthenware dessert plate, cream colour. Made by Alfred Meakin, England. Backstamped ‘Alfred Meakin England’. flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, alfred meakin, ceramics, earthenware, kitchenware

Earthenware is lightly fired, readily absorbs water if not glazed, and does not allow light to pass through it. Coarse earthenware is made from clay and grog (ground up fired pot). There are two main types of glazed earthenware: One is covered with a transparent lead glaze; when the earthenware body to which this glaze is applied has a cream colour, the product is called creamware. The second type, covered with an opaque white .in glaze, is variously called tin-enamelled, or tin-glazed, earthenware, majolica, faience, or delft. G&S marking could be Grove & Stark, Longton, England (1871-1884). In the 19th century, J. & G. Meakin ,1851 based in Hanley, Stoke-on-Trent, Staffordshire, was known for the vast quantities of cheap ironstone china it produced for the domestic English market and for export to Australia, Canada, New Zealand and the United States. Grove & Stark were taken over by Meakin early 20thC The Mark could also be Gibson & Sons (Ltd), were notably manufacturers of earthenware Burslem, Stoke-on-Trent. Founded around 1885 and traded until the mid 1970's. They were previously Gibson, Sudlow & Co. Manufactured between 1885 to 1905. Small earthen-ware, black-glazed tea-pot. 8 sided. The body of the tea-pot is decorated with hand-painted gold flowers and raised cream flowers. The lid is also hand -painted with green leaves and flowers. This floral pattern is named "Garland" The lid is not of the same pattern as the base. The spout was broken when brush tailed possum entered Cottage via chimney 27/4/2014. Can be repairedOn the base of the tea-pot. Makers Mark is G & S. "Garland". (Pattern), Rg. No. 175153. Also 'Made in England'. Under glaze there is the word: England.crockery, earthenwarre, gibson & son ltd, grove & stark ltd, pioneers, early settlers, bentleigh, market gardeners, moorabbin, cheltenham, pottery, stoke- on - trent, england, longton, burslem, wedgwood

Sepia photo on cream board, copy of original. Shows scene near Big Hill from Mr. Buick's residence. Inscription: Above image, 'Views of Bendigo|No.47.'. Below, 'Scene near Big Hill ranges, taken from Mr. Buick's Residence.','N.J.Caire Photo, Sandhurst'. Bottom, 'Casey & Wenborn's Print Forbes & Holmes, Agents',' Mount Alexander in the distance. Mr.Moffit's Sheep Station, Ravenswood, |can be seen this side of Mt. Alexander.'. On Back, 'RHSV stamp, Bendigo Branch '1959|70'. (Two copies) Nicholas CaireN.J.Cairecottage, miners, see: 'views of bendigo' by n.j.caire

Document, Sedgwick, was known as Upper Emu Creek until 1901. It is located ten miles south of Bendigo in hilly sedimentary and granite country.The first freehold grants were taken up in 1854. In 1861 the Strathfieldsaye Road District was Proclaimed. Five years later it became the Shire of Strayhfieldsaye.Mining west of the Axe Creek commenced in 1863. Agriculture, farmers made modest livings from vineyards, orchards,dairy cattle, eggs and tomatoes. The Osborne family had seventy acres planted to apples. Prior to 1934 Favaloros collected cream from district farms, then fresh milk in cans was carted to Bendigo until 1970.document, sedgwick

Hand painted milk can from Woodruff's dairy, kept by the Woodruff family and decorated by artist 'Shelley' with floral motifs, dairy name etc.on a cream coloured, painted surface which now is peeling badly.business and traders - dairies, woodruff's royal dairy, stan woodruff, stan

The milk separator used centrifugal force to separate the cream and milk. A wooden crank handle would have been attached to the side of the machine (where the handle attached can be seen on the right-hand side). The milk was poured into the bowl on the top and the handle had to then be turned fast enough to get the separator up to speed adequate to separate the cream and the milk. The milk would come out of one spigot and the cream out of the other. Silver bowl with red base; some suface rustchurchill island, farm machinery, dairy equipment, milk, cream, separator, hand operated

Cards were sent by John Coleman in response to letters of support received after he injured his knee in 1954. He never played again. Thank you card on cream cardboard with rounded corners and message in calligraphy script printed in blue ink; message reads: "Sincere thanks for your kind expressions of Sympathy and Good-will during my recent football injury. I can asssure you it is deeply appreciated. John Coleman." Handwritten message in blue ink on back of card reads: "Thanks, Ray, for your very nice letter. The "Dons" are going along well now, don't you think. (Should make the four). Kind regards, John Coleman. essendon football club, john coleman

This Commode Chair has been skillfully adapted by a bush carpenter from a kitchen chair - possibly for an invalid at a time when toilets were usually outside and often difficult to reach. The hinged seat is held up by a wire hook (No.8 fencing wire), and the seat can be lifted to remove the commode pot. The cream paint is of the type universally used for kitchen furniture before a more diverse range of paint colours became available.A wooden commode chair converted from a kitchen chair with four round legs and a hinged seat. Underneath is a hole to hold chamber pot or covered commode. The backrest consists of three turned spindles between squared timber that supports a carved rail across top. It is painted with cream paint that is rather worn.chairs, adaptation

Brought to Australia by Dutch migrants in the 1950s. Used for slow cooking of dishes such as soups and stews.Cream enamel with green upper rim. Three-legged. Consists of two circular compartments, the lower one of which is the kerosene tank. Adjustable wick in holder attached to a handle with which the wick can be raised and lowered. Spare wick in tank. Upper compartment has small brass porthole with glass centre through which to monitor flame. Inside bottom of upper compartment there is a longitudinal slit within an oval raised section. Perforations around slit for ventilation. Steel trivet on top has five pointed star pattern. household item

2 NAL - Rinadeena - (Mt. Lyell) O 2; 2 NBL - 1st. class saloon car (20) NAL FIRST-CLASS SALOON CAR. Four saloon end-platform cars originally built during 1901–1902 by the Lancaster Railway Carriage and Wagon Company Ltd. for the 3'6" gauge Mt. Lyell Mining & Railway Company in Tasmania and classed O. Converted for use as second-class cars on the 2'6" gauge Puffing Billy Railway during 1965–1966, these cars were reclassified NBL and numbered 1–4. The L recognises their Mt. Lyell origin, No. 1 was kept for use as the Railway's VIP car and was reconditioned to a higher standard. No. 2 was similarly upgraded in 1985 for use on special occasions. In 1989 No. 3 was similarly reconditioned with No. 4 receiving similar treatment in 1995. These cars were re-classified NAL in recognition of their new first-class nature. The Mt Lyell Railway was closed in 1963 and subsequently dismantled, but fortunately several of the locomotives and carriages passed into preservation. Purchased by the Puffing Billy Preservation Society from the Mount Lyell Mining & Railway Company in the 1960's and converted to 2' 6" gauge. It has since given many years of service on the Puffing Billy Railway. TASMANIAN CARRIAGES & GUARDS VANS No. Builder Type Year built Ex. Location Note NAL 1 Lancaster Railway Carriage and Wagon Co Saloon 1901 Mt Lyell Railway Named Mt Lyell NAL 2 Lancaster Railway Carriage and Wagon Co Saloon 1901 Mt Lyell Railway Named Rinadeena NAL 3 Lancaster Railway Carriage and Wagon Co Saloon 1901 Mt Lyell Railway Named Teepookana NAL 4 Lancaster Railway Carriage and Wagon Co Saloon 1901 Mt Lyell Railway Named Dubbil BarrilThe Rinadeena is a stunning example of a classic narrow gauge 1st Class Saloon Carriage, used as a luxury edition to train travel in the late 1800s and the 2NAL within Puffing Billy's collection was purchased by the Puffing Billy Preservation Society in the 1960s, where it underwent restoration to become part of the railway's historic transport collection.A timber and iron saloon car - painted in crimson with a name plate 'Rinadeena' attached to the centre of the carriage and the words '2 NAL' painted in white directly below. The word 'FIRST' is painted in gold at both ends of the carriage. The car has nine windows on either side of the carriage and a wrought iron ballastrade upon entry at eiether end of the carriage as well as iron steps to ascend. Inside the carriage are 10 bench seats made of wood and leather and ten tables for dining. The windows are adorned with cream cloth fabric and above each bench are wrought iron luggae racks. The ceiling is covered in cloth and features two suspended ornate glass and metal light fixtures. A wooden door with two glass panels can be found at both ends of the carriage.2 NAL - Rinadeenarailway carriages, first class saloon, narrow gauge, rinadeena, mt lyell, transport, travel, leisure, luxury

Started in 1936, the aim of the Pilots was to capture the imagination and the devotion of children for the service of the Kingdom of God and to begin the training for membership of the world wide church of Jesus Christ. Pilots was mainly a week-night activity to supplement the training which boys and girls are given on Sundays, either through Family Church courses or approved Sunday School guides. Many churches were already using the lesson courses prepared by the Youth and Education Department of the Congregational Union for the Family Church. A Pilot company consisting of six or more boys meet regularly under the leadership of a Captain. The Pilot's promise was "I will learn, pray and serve all I can in the world-wide church of Jesus Christ". [from "Compass : for Pilot Captains" book 1947]BN057 and BN004: Rectangular blue and green screen printed cream linen flag with cord and wood toggle at one sidePILOTScongregational church, pilots - congregational church, flags, congregational union, london missionary society

The Boyd family recall how Robin Boyd loved gadgets for their beautiful industrial design and their functionality.Juice-O-Mat. Metal handle on right-hand side, metal squeezer on top. Cream coloured body to hold cup. When the handle pulled back the fruit can be inserted.On base: SINGLE-ACTION Juice-O-MAT. US CAT NO 462-C. Rival MFG. CO Kansas City MO. U.S.A.gadget, walsh st appliances, robin boyd, ohm2022, ohm2022_11

Powdered milk was sod in cans before plastic packaging was introduced. The Nestle Company manufactured the Sunshine powdered milk in Australia and was made from full cream pasteurised milk which had the water content removed from it this would then allow the tins of powdered milk to be transported without refrigeration. The powdered milk could then be made up by adding water at the recommended quantities as per directions on the labels.A white, and green paper covered rusty tin. The front of the label is printed in black advertising Sunshine full cream milk powder. The back has recipes printed on it.Nestle/SUNSHINE/milk/FULL CREAM MILK POWDER/NET 3LB - AUSTRALIAsocial history, cooking, domestic food and drink, milk products, powdered milk

Alfred William Eustace was a well-known self-taught Australian artist who spent his spare time painting the local landscapes in the Chiltern area. When not doing his work or painting, Eustace regularly contributed letters and verse to the Chiltern newspaper "The Federal Standard". A collection of A. W Eustace's verse and other writings, written between 1845 and 1899, was presented to The Chiltern Athenaeum Trust by Cam Boadle, a grandson of A.W. Eustace, and his wife Connie. The Chiltern Athenaeum Trust created a booklet of some of his poetry which was published in 1992. Copyright for the booklet is held by Chiltern Athenaeum Museum 1992. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. A.W.Eustace was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederich of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth. Alfred William Eustace made a valuable contribution to the culture of 19th century Chiltern and his booklet of Selected Verse gives us an insight into life during that time.22 page booklet of Selected Verse/ A.W. Eustace of Chiltern/ 1820-1907. Printed on thick cream paper with a copy of an oval photograph of the author.a. w. eustace, selected verse, chiltern

Shoe-making began in Australia among the penal colonies in 1790 who crafted shoes from imported leather. The first Australian-made shoes were expensive and many people were sent back to England for their shoes until the 1830s. However, in the years after Australian shoe-making became more accessible and affordable. Toward the end of the 19th Century, many wealthy women became obsessed with the latest fashions for both themselves and their children. Shoe-making became a profitable business for several leading companies during the 20th Century, as the industry was seen as a successful and practical item that most Australians required.The baby shoe holds significance as it represents the craftsmanship of Australian leather shoe-making from the 20th Century. As the style of shoe is more modest and stylish, it can be assumed that it was the type of footwear used for the Church Sunday Service or for special occasions, with further gives insight into the social constructs of Chiltern, a rural town in Victoria, at that time.Black leather with wool pom pom attached with a metal stud. Leather sole is black and the inner of the shoe is cream. Discolouration on the bottom of the shoe due to dirt.chiltern, shoe, footwear, leather shoe, baby shoe, chiltern athenaeum

Purchased in Illinois, USA, in the 1950s. Comes with instruction manual and additional blades, all of which appear unused. Made by Logan brand who are still in operation today. This is model 401 which is not manufactured currently.Black plastic and yellow plastic box with white foam-core base and side walls. Mat cutter is a black metal base/frame with horizontal ruler attached within. Steel handle at front with mounting area for blade. Blade is stored flat within base but can be turned to protrude through the bottom of the frame which allows it to cut carpet. 4 additional unused blades stored in small brown paper envelopes. Faded cream coloured single page paper folded instruction manual.

Steel framed folding babies basket. The frame painted cream has four swivelled small roller wheels attached. The basket frame can be removed by unscrewing four round knobs and the frame can be folded flat. The basket has a canvas base and sides woven with cotton cord. The basket is fitted with a pink liner with broad lace edges. Ther are two pockets sown onto the inside of the liner. The liner is in poor condition.The Universal Folding Basket. H & C printed on canvas base.

This rug was woven in the mid-1990s at the Tascot Templeton Carpet (TTC) mills in Devonport, Tasmania. It was an in-house design. The rug was woven as a one-off design exercise and was given a Golden Thread Award by the Australian Wool Corporation. The design never went into standard stock production and was never released for public sale. This rug has been woven with 100% wool on a 1 metre wide loom. The loom was purchased by TTC from United Carpet Mills of Preston and the rug was woven to demonstrate the capabilities of these looms. This rug is an example of Wilton weaving. Wilton differs from Axminster in that it is usually Loop Pile and 100% wool whereas Axminster is Plush (cut) pile and normally 80/20 wool nylon blend. TTC manufactured primarily high-quality narrow and broad loom, Axminster and Wilton carpets for the domestic and commercial market. They operated from the early 1960s until their closure in 2011. This rug was also on display in the Tascot Templeton head offices before being donated to the National Wool Museum in 2021 by Roger Warn. 3 x 3-meter carpet rug woven in 1-meter wide sections. The pattern repeats 3 times both in the width and the length. Starting from the bottom left corner, a square can be seen within a larger circular shape. These circular shapes connect end on end across the width and length of the rug. 5 Circles make up the length of the rug while 6 circles make up the width. Numerous small shapes encompass the entirety of the rug. These small shapes work together to form many interconnected repeating forms that draw your eye in a new direction every time you look at the rug. The predominant colour of the rug is a purple background with blue, cream and orange colours making up the foreground colours.carpet rugs, woollen rugs, tascot templeton carpets, axminster carpet loom

These wool undervests were purchased by Edith Bender for her husband Edwin, prior to 1963. Edwin would catch a ‘Red Rattler’ train along the North Shore line to go to work in Pitt Street., Sydney. Edith was concerned Edwin would catch a cold in the unheated train or in his unheated office, so she brought these woollen undervests for him to wear to work. Edwin would wear the undervests under a woollen suit and with a woollen overcoat. Edwin passed away in 1963, at which point Edith stored the undervests away. They were passed to Edith’s daughter when Edith passed away in 1980. They were then passed to Tanya Davis on the death of her mother. Tanya donated the undervests to the National Wool Museum in 2021.2x cream wool undervests. Henley style with short sleeves and three buttons at the front. Labels from the maker ‘Braemar’ have been stitched to the neckline of both vests. An additional label is stitched under the first button on the front of both undervests. Label stitched to neck of vest: BRAEMAR / MADE IN SCOTLAND / OPTIMUS / PURE WOOL / TREATED TO RESIST / SHRINKAGE / QUALITY / B. OPTIMUS Label stitched to front buttons of vest: MADE IN SCOTLAND / FOR FARMER’S / SYDNEY Attached swing tag: BRAEMAR / The WASHING of WOOLLENS / PREPARE a bath of good bar or flake soap, thoroughly dissolved in water not hotter than the hands can bear. Squeeze the garments through the hands several times in the bath. Don’t rub them on a board. Rinse in warm water until soap is thoroughly removed. Wringing should be done in the hands. Stretch well to width and length and dry at once, preferably in the open air Stretch again in the hands when dry. Attached swing tag. Reverse: IMPORTANT POINTS / Do not use soda or washing powders. / This garment must not be subbed on a board, or subjected to mechanical friction.red rattler, wool clothing

This blanket was owned by the Rosenberg family from the late 1950s onwards. It was the donor Denise’s blanket. Born May 1958, her late mother Elfie kept it safe for many decades after Denise had outgrown it. Elfie returned the blanket to Denise 20 years ago, in its current near new condition. Jacques Rosenberg and Elfie née Naparstek, Denise’s parents, met in Melbourne in the Summer of 1950. They both survived being young and Jewish in Europe during the Second World War. Jacques grew up in France and Elfie in Germany, she was a child of the Kindertransport. They married in 1952 and by 1958 had a son and two daughters. Denise, the youngest daughter, donated the blanket on behalf of the Rosenberg family to the National Wool Museum in 2021. The Kindertransport was a program designed to facilitate the immigration of Jewish children from Nazi Germany before the outbreak of the Second World War. The United Kingdom took in nearly 10,000 predominantly Jewish children from Germany, Austria, Czechoslovakia and Poland. The children were placed in British foster homes, hostels, schools and farms. Tragically, these children were often the only members of their families to survive the tragedies that were to unfold in Europe. Fortunately, Elfie’s parents did survive World War Two by sneaking out of Germany and into the south of France. After Elfie and her sister Serry were Kindertransported, they met up with Salma and Risla Naparstek in Paris in 1947 before migrating to Australia. This blanket originates from the Eagley Mill. They manufactured woollen, worsted and knitwear products from their mill located in Collingwood. Part of Foy & Gibson, the mill had frontages measuring almost two miles within the area bounded by Little Oxford, Wellington, Stanley and Peel Streets in Collingwood. This was the largest manufacturing plant for wool in the Southern Hemisphere at the time. It was also one of the oldest. The first machines for knitting men’s socks were installed in 1896. The site ultimately went into receivership while under new ownership in 1968 and is now high-end real estate. More information about the Mill can be read via Unimelb digitised collection. https://digitised-collections.unimelb.edu.au/bitstream/handle/11343/21262/269411_UDS2010852-85.pdf?sequence=18&isAllowed=y 38”x45” (965 x 1145mm) cream wool blanket. The blanket has white stitching around its edge. Embroidered in the centre of the blanket is a koala eating leaves with accompanying flowers on either side of the marsupial. In the bottom right corner of the blanket a small square label from the Eagley Mills is stitched. This label includes the images of a Sphinx head, a pyramid and a baby’s crib.Eagley / ALL / WOOL / 38”x45” / AWARDED THE CERTIFICATE OF / THE ROYAL INSTITUTE OF / PUBLIC HEALTH & HYGIENE LONDONkindertransport, eagley mill, blanket

Hinged food mixer with egg beater blades of chrome plated steel. Brass handle, chromed. Base worked steel painted with hammertone paint. White plastic base to hold missing lemon squeezer. Bowl to mix in missing. Has five small rubber legs.Has a planetary action and is hand driven. Beats eggs, cream and potatoes. The juice can run down into the basin when lemon is squeezed.domestic items, food preparation

This ammunition bag was used by Harry Mitchell (son of Lindsay Mitchell) at the Bendigo Rifle Club in 1959, the bag was designed to hold 303 riffle bullets used in target shooting or could hold 7 cartridges for a shotgun. The Gladstone bag was very popular in the 1940/50 era, it fitted on the handlebars of a bicycle and it was used by footballers and sportsmen. A couple bottles of beer would fit comfortably in the bag and was.used to take beer home after the hotels closed at 6pm. These two articles were donated by Lindsay Mitchell to the Numurkah Historical Society. The Sunbeam Mixmaster belonged by Marjory Welch, Nana of Margaret Mitchell and would have been used in late 1930 and during 1940's. It was painted and used by Linda Mitchell, (great great grand daughter) when at universitv in 1987 White Sunbeam Mixmaster was purchased by Margaret Mitchell 1965. lt was her first mixmaster after she was married in 1964 The bread bins. The green and white belonged to Mary Mitchell (Lindsay Mitchell's Mother) The colourful bread bin belonged to Lorna Welch (Margaret Mitchell's Mother) 1 x Ammunition bag, (1950's), 1 x Gladstone bag (1950's), 2 x tin bread bins, 1 x White Coloured Sunbeam Mixmaster (1965) , 1 x Cream-coloured Sunbeam Mixmaster (1940's), 1 x Red Fly-spray can (1950's)mitchell family, gladstone bag, mixmaster, school bag, bread bin, kitchen, ammunition bag, sunbeam, flysprayer

'Souvenir of Melbourne Legacy’s 25th Anniversary Dinner held at 9 Darling Street on November 3rd 1948.' A satirical ode written to commemorate the 25th Anniversary of Legacy. The author's name isn't recorded. Many Legatees names are mentioned in the story it tells. One of the final stanzas shows the spirit of comradeship and sense of duty. 'Here's to our sweethearts and wives, who can still raise their smiles for us! Here's to our friendships, like star-shells lighting the miles for us! Here's to the kids! May they vigilant be for the freedom we've known, Standing up for the right, standing in with our own . . . Britons within their realm, and the Dominions, our brothers . . . Tackling, if need be, tyrants abroad . . . and, maybe some others.'The Legatees celebrated the 25th Anniversary of Legacy with a dinner and this poem was published as a souvenir.Booklet x 12 pages, containing a poem, brown print on cream paper, made as a souvenir of Legacy's 25th Anniversary Dinner.silver jubilee, 25th anniversary, poem

Cream and Maroon Booklet Bendigo Operatic Society Theatre Programme 'No No Nanette' A Musical Comedy in Three Acts. Capital Theatre Bendigo May 1, 2 and 3, 1957 8 pm. Arranged by Samuel French Ltd. Producer Norman Lee. Musical Director Max O'Loghlen. Cast: Greta Smyth, Ruth McLennan, Brian Brewer, Barbara McGregor, Voronica Blanch, Harry brewer, Brian Thomas, Betty Cullen, Dawn Beckwith, Jean Cannon, Rhonda Miller. Songs Include: 'The Call of the Sea', 'I Want to be Happy', 'No, No Nanette,' 'Tea for Two', 'How Do You Do,' 'Too Many Rings Around Rosie', 'You Can Dance With Any Girl,' 'Take A Little One-Step', 'It's A Pity to Say Goodnight.'Cambridge Press Bendigo.clubs and associations, theatre, bendigo operatic society, https://en.wikipedia.org/wiki/no, _no, _nanette