A harpoon is a long spear-like instrument used in fishing, whaling, sealing and other marine hunting to catch large fish or marine mammals such as whales. It accomplishes this task by impaling the target animal and securing it with barb or toggling claws, allowing the fishermen to use a rope or chain attached to the projectile to catch the animal. The earliest known harpoons, have been recorded as having been made and used 90,000 years ago. In the early whaling industry the two flue harpoon was the primary weapon used around the world. This two fluke harpoon tended to penetrate no deeper than the soft outer layer of a whales blubber. Thus it was often possible for the whale to escape by struggling or swimming away forcefully enough to pull the shallowly embedded barbs out backwards. This flaw was corrected in the early nineteenth century with the creation of the one fluke harpoon. By removing one of the flukes, the head of the harpoon was narrowed, making it easier for it to penetrate deep enough to hold fast. In the Arctic, the indigenous people used the more advanced toggling harpoon design and by the mid-19th century, the toggling harpoon was adapted by Lewis Temple, using iron. The Temple toggle was widely used, and quickly came to dominate the whaling industry around the world.A hand forged harpoon demonstrating the blacksmiths art for fashioning an item used during the early 19th century in the significant industry of whaling. Used during a time when the world depended on the natural resources derived from whales, oil for lighting, lubrication, margarine, candles, soaps and cosmetics as well as the use of the whales bones for various other items such as corsets, umbrellas,fertiliser and animal feed. The item is significant as it was probably made between 1820-1850 after which a single fluke and toggle harpoon began to be use extensively in the whaling industry. Also coming in to general use was a black powder gun to fire the harpoon rather than the early type that had to be manually thrown by a mariner from a row boat of which the subject item is an example.Hand forged double fluke steel whaling harpoon with an arrowhead tip atop a square shank that tapers to a narrow round shaft with a split metal cone to accommodate a wooden harpoon pole.Noneharpoon, whaling, whaling harpoon, fishing industry, whales, flukes, lewis temple, marine technology, flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road

The artefact is a brass cow bell recovered from the 1878 shipwreck of the LOCH ARD near Port Campbell. It was raised by Flagstaff Hill divers in 1973 and is in storage at the Maritime Village. A cow bell is a bell worn around the neck of free-roaming livestock so herders can keep track of an animal via the sound of the bell when the animal is grazing out of view in hilly landscapes. Although they are typically referred to as "cow bells" due to their extensive use with cattle, the bells are used on a wide variety of animals. The earliest examples of truly recognizable cow bells date back to the Iron Age. The use of iron bells in sub-Saharan African music and the Niger–Congo area is linked to the early iron-making technology spread during the Bantu migrations. The earliest archaeological evidence of bells dates back to more than 5000 years ago, from the 3rd millennium BC in Neolithic China. During this era, there is evidence of early forms of pottery cow bells, which were likely used to keep track of goats, sheep, and cattle. These pottery bells were later replaced by metal bells using brass and other materials. The LOCH ARD was constructed on the Clyde in 1873 for the prestigious Loch Line of colonial clipper ships, designed for the Australian run. She sailed from England on 1 March 1878 carrying 37 crew, 17 passengers and a diverse general cargo ranging from luxury items to bulk railway iron. On 1 June 1878, emerging from fog and hearing too late the sound of breakers against the tall limestone cliffs, the vessel struck the southern foot of Mutton Bird Island and sank in 23 metres of water. Of the fifty-four people on board only two survived, one young male crewman, Tom Pearce, and one young female passenger, Eva Carmichael. (See References or Notes below for further details.)The cow bell is believed to be part of the cargo of the Loch Ard and this shipwreck of the Loch Ard is of historical significance for Victoria. Registered on the Victorian Heritage Register ( S 417), with Flagstaff Hill having a varied collection of artefacts from the Loch Ard. Its collection is significant for being one of the largest accumulation of artefacts from this notable Victorian shipwreck. The collections object is to also give us a snapshot into history so we can interpret the story of this tragic event. The collection is also archaeologically significant as it represents aspects of Victoria's shipping history that allows us to interpret Victoria's social and historical themes of the time. The collections historically significance is that it is associated unfortunately with the worst and best-known shipwreck in Victoria's history. Brass cow bell, covered in encrustations. flagstaff hill, warrnambool, shipwreck coast, flagstaff hill maritime museum, flagstaff hill maritime village, maritime museum, great ocean road, shipwreck artefact, loch ard, mutton bird island, glenample, eva carmichael, tom pearce, flagstaff hill divers, cow bell, horse bell, bell smith, vintage bell, farmer, shepherd, drover, stock bell, brass bell

Common soap was made from mixing animal fat with potash a form of the potassium based alkali present in plant and wood material. Early settlers, made their own soap from the waste fats and ashes they saved from their daily work. They did not then have to rely on waiting for soap to be shipped from England and waste their goods or money in trade for soap. In making soap the first ingredient required was a liquid solution of potash commonly called lye. Animal fat, when removed from the animals during butchering, must be rendered to remove all meat tissues and cooking residue before soap of any satisfactory quality can be made from it. To render, fats and waste cooking grease were placed in a large kettle with an equal amount of water. Then the kettle was placed over the open fire outdoors, because the smell from rendering the fats was too strong to wish in anyone's house. The mixture of fats and water were boiled until all the fats had melted. After a longer period of boiling to insure completion of melting the fats, the fire was stopped and into the kettle was placed another amount of water about equal to the first amount of water. The solution was allowed to cool down and left over night. By the next day the fats had solidified and floated to the top forming a layer of clean fat. All the impurities being not as light as the fat remained in water underneath the fat. In another large kettle or pot the fat was placed with an amount of lye solution ( known by experience ). This mixture was boiled until the soap was formed - 6-8 hours - a thick frothy mass, and a small amount placed on the tongue caused no noticeable "bite". The next day a brown jelly like slippery substance was in the kettle and this was 'soft soap' . To make hard soap, common salt was thrown in at the end of the boiling and a hard cake of soap formed in a layer at the top of the pot. But as salt was expensive most settlers used 'soft soap',. The soap could be scented with oils such as lavender for personal use. These 3 cakes of home-made soap are examples of the self sufficiency of the early settlers as they had to be self reliant ,growing food and making and mending their own farm equipment, tools and clothes while establishing their market gardens in Moorabbin Shire3 cakes of home-made, white hard household soap. 1 cake of soap eaten by a brush tailed possum when he entered the Cottage via the chimney 27/4/2014soap making, market gardeners, pioneers, early settlers, moorabbin, brighton, dendy's special survey 1841. kitchen equipment, laundry equipment, bentleigh

This photograph depicts fox behaviour specialist Camille Veselsky demonstrating the use of a fox bait trap at an event conducted as part of an awareness campaign highlighting damage done to farm and domestic animals and native wildlife in April 2004. Camille Veselsky is a specialist in fox behaviour who worked for the Hume Rural lands Protection Board on pest animal control for 27 years. This date is suggested by the photograph's position in the 2004-2005 Wooragee Landcare Group Coordinator's Report folder. A note accompanying the item suggests an alternative date of 24th June 2004, however. This event raised awareness about the impacts of foxes in rural areas and provided practical training in techniques to control their populations. Flyers contained in the parent folder suggest that baiting may have been agreed as a method of fox control as the event depicted was followed by a two week baiting campaign a fortnight later. Pictured in this photograph, left to right: unknown, unknown, Quentin Mansfield, Graeme Missen, unknown, Helmut Wiemann, presenter Camille Veselsky, Ursula Wiemann, unknowns. A note accompanying the items suggests the photograph may have been taken by Karen Bowley or Maree Missen. In the folder, the photograph is accompanied by a printed label stating: 'Sensible precautions must be taken when handling FOXOFF.' Regional areas like Wooragee are susceptible to fox attacks due to the availability of food such as rubbish, scraps, native wildlife and livestock. Foxes can have a huge impact on native wildlife and domestic life as they are known to chew through irrigation systems, dig-up and defecate in gardens, raid rubbish bins and harass other domestic animals. Ground-dwelling native species are particularly susceptible to predation by foxes, which when combined with loss of habitat can endanger these species. Affected species include Speckled Warblers, Plovers, Diamond Firetails, Spotted Quail-Thrushes, Turquoise Parrots, Dunnarts, Bandicoots, Phascogales, skinks, geckos and legless lizards. This photograph is significant as an example of awareness raising and threat control programs undertaken by Wooragee Landcare Group in the 2000s in Indigo Shire. Landscape coloured photograph printed on gloss paper. Reverse: WAN NA 0ANA2N0 NNN+ 3 8743 / [PRINTED] 24 / [HANDWRITTEN] (No. 1 1) / 257 [PRINTED}wooragee landcare, wooragee, north-east victoria, indigo shire, landcare movement, 2004, fox control, pest control, native animal protection, farming, farm life, foxes, vermin, baiting, traps, speckled warbler, plovers, diamond firetails, spotted quail-thrush, turquoise parrot, dunnarts, bandicoots, phascogales, skinks, geckos, legless lizard, chickens, ducks, guinea-pigs, camille veselsky, quentin mansfield, graeme missen, helmut wiemann, ursula wiemann, karen bowley, maree missen

This photograph depicts fox behaviour specialist Camille Veselsky demonstrating the use of a fox bait trap at an event conducted as part of an awareness campaign highlighting damage done to farm and domestic animals and native wildlife in April 2004. Camille Veselsky is a specialist in fox behaviour who worked for the Hume Rural lands Protection Board on pest animal control for 27 years. This date is suggested by the photograph's position in the 2004-2005 Wooragee Landcare Group Coordinator's Report folder. A note accompanying the item suggests an alternative date of February 2004, however. This event raised awareness about the impacts of foxes in rural areas and provided practical training in techniques to control their populations. Flyers contained in the parent folder suggest that baiting may have been agreed as a method of fox control as the event depicted was followed by a two week baiting campaign a fortnight later. Pictured in the photograph, left to right: unknown, Quentin Mansfield; four unknown people; Mary Prowse; two unknown people; Helmut Wiemann; unknown person. In the folder, the photograph is accompanied by a printed label stating: 'Train foxes to take free feeds before using the 1080. Small traces of fish oil can help attract foxes to the bait station.' Regional areas like Wooragee are susceptible to fox attacks due to the availability of food such as rubbish, scraps, native wildlife and livestock. Foxes can have a huge impact on native wildlife and domestic life as they are known to chew through irrigation systems, dig-up and defecate in gardens, raid rubbish bins and harass other domestic animals. Ground-dwelling native species are particularly susceptible to predation by foxes, which when combined with loss of habitat can endanger these species. Affected species include Speckled Warblers, Plovers, Diamond Firetails, Spotted Quail-Thrushes, Turquoise Parrots, Dunnarts, Bandicoots, Phascogales, skinks, geckos and legless lizards. This photograph is significant as an example of awareness raising and threat control programs undertaken by Wooragee Landcare Group in the 2000s in Indigo Shire.Landscape coloured photograph printed on gloss paper. Reverse: 25 / 2 [HANDWRITTEN] WAN NA 0ANA2N0 NNN+ 1 8743 / [PRINTED] (No.12) / 258wooragee, wooragee landcare group, indigo shire, north-east victoria, fox, foxes, pest control, vermin, conservation, baiting, trapping, farming, wildlife, speckled warblers, plovers, diamond firetails, spotted quail-thrush, turquoise parrot, dunnarts, bandicoots, phascogales, skinks, geckos, legless lizards, camille veselsky

.1) Registered letter envelope addressed to Mr Norm Tucker, Bannister St, Bgo. Sepia colour photos located in Egypt & Middle East: .2) - .11) Buildings. .12) - .19) Individual & groups of local people. .20) - .21) Railway buildings. .22) - .27) Ruins & old buildings. .28) - .29) Local people at work. .30) Boat. .31) Yanky boat Suez Canal 1916 when they were neutral. .32) Horses - Reinforcement on board for 6th ALH. Black & white photos: .33) Warship. .34) - .35) Buildings & people. .36 - .37) Zoo animals. .38) Card, colour picture of soldier & a little girl.photography-photographs, documents - envelopes, military history, passchendaele barracks trust

CEMA Art Collection. Part of "A Community View" 150 years in Portland Screenprint Exhibition. Part of Angela Gee Residency 1983 and 1984.Laminated screenprint of a landscape with several social comments. The top of the work features a Micky Mouse symbol with dollar signs in his eyes and a speech bubble which says "We'll move the Heathland". To the left is text stating "ALCOA AIMS TO MOVE THE HEATHLAND. "AGE" 5-9-80". In the centre of the work vegetation burns, aboriginal people wave and a tractor drives below the text "THEY BURNT THE HEATHLAND 4-12-80". The lower section of the work shows two men with a red megaphone. A speech bubble comes from the megaphone which states, "I UNDERSTAND YOUR ANGUISH!" To the right of the men is a wreath of native plants with two animals (native mice?).Front: 26 B. Sharrock (lower right, image) (pencil) Back: 36

Book. ALEC H. CHISHOLM COLLECTION. 195 page hardback book of humorous verse by Ogden Nash, an American poet. Published in 1944 for J.M.Dent & Sons Ltd by George Jaboor, Melbourne. Printed by Speciality Press, Melbourne. A newspaper cutting inside front cover from The Australian, 22 May 1965, relating to Ogden Nash. Catalogue sticker '2038 NAS' on spine. Handwritten in ink on flyleaf ''To my old friend Alick Chisholm with best wishes for 365 days of health and happiness in 1946 Any man who loves birds and animals as you do, must be a great man 31/12/45 Tom Nettlefold''Ogden Nashbooks, collections, poetry, alec h. chisholm collection, ogden nash, tom nettlefold, poetry

This album contains cigarette cards dating from the early 20th Century. The cards include Australian and English cricketers, Australian footballers, animals, racehorses, ships, Pacific Islanders, jockeys, actors and other famous people. The cards come from a variety of Australian and English cigarette companies. The album comes from the Edwards family who lived on the MORVEN property situated about 11 kilometres west of Branxholme in the Western District of Victoria. This property was sub divided in 1911 into 25 farms. There was once a Morven School and today there is a road of that name in the area.. This album is of considerable significance as it has historical value as an early collection of cigarette cards. Collecting of cigarette cards was a major social activity amongst young people, particularly in the first half of the 20th Century. It was a profitable advertising ploy for cigarette companies. Card and small object collecting by children today is still popular and used as an advertising mechanism. This album has a worn cover in faded green and fawn colours with a blue spine almost wholly detached. The back cover is stained. The cover has text. There are eighteen double sided pages with cut spaces for holding seven cigarette cards on each. Most of the pages contain black and white, sepia or coloured cigarette cards. There is an inscription on the first page.To Bennie from Auntie Lou. Xmas 1908cigarette cards, morven, edwards family morven, album

This bucket was made from vertical planks of wood with bands of metal around it for strength. Buckets such as this were made by coopers, who had expertise in making wooden barrels. Wood or animal skin was used to make buckets in colonial times when other materials were unavailable. Buckets had many uses in domestic and agricultural life including carrying, measuring and storing. Cooper tradesmen used carpentry and blacksmithing skills to make a wide range of wooden containers and other objects. They sometimes used water or steam to bend and mould the timber.The bucket is an example of a product made from wood and iron by an experienced Cooper. In early colonial timeswhen ready-made products were scarce so the trades of coopers, blacksmiths, metal smiths, carpenters, builders and others were necessary for domestic, commercial and industrial establishment.Wooden coopered bucket; three metal bands around vertical wooden planks that form the body of the bucket. Two lugs extend higher than the planks and have a rope joined between them.warrnambool, shipwreck coast, flagstaff hill, flagstaff hill maritime museum, flagstaff hill maritime village, bucket, wooden bucket, container, domestic bucket, cooper, cooper trade, coopered bucket

Royal Doulton as part of the Minton Miniature series produced this heron model in 2001. A limited edition of 1,793 pieces were made, and this heron is number 89. The heron is a scaled down model of the original life-size piece first produced by Paul Comolera, c. 1892, as a walking stick and umbrella stand. Comolera was a French artist and sculptor, renowned for dramatic naturalistic forms, and life-size renditions of birds and animals that won him admiration in public and artistic circles. The Warrnambool Art Gallery (WAG) has a life-sized Heron in its collection. A rare miniature heron demonstrates the artistry and skill required to produce Majolica ware during the 19th century and the present.A miniature grey heron standing by bulrushes and holding a struggling fish in its beak, its plumage naturalistically coloured, on a circular base glazed in tones of grey and green and applied with further leaves and water lilies.Inscribed at the base Minton founded 1793, made in Englandminton & co., majolica, miniature model, flagstaff hill maritime museum, stoke upon trent, paul comolera, staffordshire

A horse collar is a part of a horse harness that is used to distribute the load around a horse's neck and shoulders when pulling a wagon or plough. The collar often supports and pads a pair of curved metal or wooden pieces, called hames, to which the traces of the harness are attached. The collar allows the horse to use its full strength when pulling, essentially enabling the animal to push forward with its hindquarters into the collar. It is a padded appliance that conforms well to the shape of the horse's body and is constructed so that at all points of contact with the body of the horse it avoids the air passage.The early settlers in Moorabbin Shire depended on the draught horse to pull the equipment need to plough the fields, grade the roads, pull their wagons of produce and small carts for transport as they developed the land after the Henry Dendy Special Survey 1841Horse Collar, 20thC mediumearly settlers, pioneers, draught horse, ploughs, farm equipment, saddles, leatherwork, blacksmiths, cheltenham, sandringham, city of moorabbin, county of bourke, moorabbin roads board, parish of moorabbin, shire of moorabbin, henry dendy's special survey 1841, were j.b.; bent thomas, o'shannassy john, king richard, charman stephen, highett william, ormond francis, maynard dennis, market gardeners, horse drawn wagons, plateway, vegetables, poultry farms, dairy farms,

A horse collar is a part of a horse harness that is used to distribute the load around a horse's neck and shoulders when pulling a wagon or plough. The collar often supports and pads a pair of curved metal or wooden pieces, called hames, to which the traces of the harness are attached. The collar allows the horse to use its full strength when pulling, essentially enabling the animal to push forward with its hindquarters into the collar. It is a padded appliance that conforms well to the shape of the horse's body and is constructed so that at all points of contact with the body of the horse it avoids the air passage.The early settlers in Moorabbin Shire depended on the draught horse to pull the equipment need to plough the fields, grade the roads, pull their wagons of produce and small carts for transport as they developed the land after the Henry Dendy Special Survey 1841Horse Collar large 20thCearly settlers, pioneers, draught horse, ploughs, farm equipment, saddles, leatherwork, blacksmiths, cheltenham, sandringham, city of moorabbin, county of bourke, moorabbin roads board, parish of moorabbin, shire of moorabbin, henry dendy's special survey 1841, were j.b.; bent thomas, o'shannassy john, king richard, charman stephen, highett william, ormond francis, maynard dennis, market gardeners, horse drawn wagons, plateway, vegetables, poultry farms, dairy farms,

This chess set was carved from local wood with bases made from halved cotton reels. The chess pieces take the shape of Australian animals, and Aboriginal men and women. The set was presented to Mr. Benzion Patkin, Honorary Secretary of the Zionist Federation of Australia, by Tatura internees in recognition of his assistance, in particular, his assistance in facilitating the emigration to Palestine. According to Mr. Patkin, he received the chess set in a wooden box inscribed, "With our sincerest thanks from your Zionist friends - Tatura, on the way to Eretz Israel, per Leonhard Levin, 20.11.1942.".Written in pencil UR corner, upside down: (22) Printed in black ink: "B. & H. PATKIN Flat (printed 2 corrected in pen and ink 4) 313a Dandenong Road Windsor 3181 Victoria Australia Tel: Home 51 - 5671 Bus 63 - 8959"dunera, wwii, internees, jewish history & people

Sweenies Creek Pottery was located at 1507 Strathfieldsaye Rd, Axe Creek. Owned and run by Graham Masters, he specialises in a patented technique of low relief stoneware depicting Australian animals and landscapes. Graham Masters graduated from Bendigo Institute of Technology in 197 with a Diploma of Art and Design in Ceramics. He operated a pottery for a year in Bendigo, before working at Maldon Pottery, Maldon, Victoria, with Neville Wilson and Thomas Metcalf. He left Maldon to set up his own pottery at Sweenies Creek in 1984 and has been there ever since. ceramics, sweenies creek pottery, graham masters, australian studio pottery

Sweenies Creek Pottery was located at 1507 Strathfieldsaye Rd, Axe Creek. Owned and run by Graham Masters, he specialises in a patented technique of low relief stoneware depicting Australian animals and landscapes. Graham Masters graduated from Bendigo Institute of Technology in 197 with a Diploma of Art and Design in Ceramics. He operated a pottery for a year in Bendigo, before working at Maldon Pottery, Maldon, Victoria, with Neville Wilson and Thomas Metcalf. He left Maldon to set up his own pottery at Sweenies Creek in 1984 and has been there ever since. Pierced lidded container by Sweeney Creek Potteryceramics, sweenies creek pottery, australian studio pottery

"From the earliest days of settlement in the shire, residents demonstrated their willingness to band together in times of crisis and need. Bushfires were always a terrifying prospect and since its establishment in 1935, the local fire brigade (later the Country Fire Authority) fought hard to protect the people, homes and animals of the shire. In 1966, the Mount Cottrell Fire BrigadesGroup was formed as a way of consolidating the smaller groups around Melton, Rockbank, ToolernVale, Sydenham, Truganina and Werribee. Its headquarters were established at the home of Ernest ‘Bon’ and Edna Barrie in Ferris Road, Melton".Tag from an fire extinguisher emergency services

The Purple Swamphen can be readily located across eastern and northern Australia. They reside in areas with water including ponds, lakes, storm water drains, wetlands, swamps and marshes. These birds can often seen in urban locations including parks or along roadsides after a period of rainfall. Due to their adaptability, these birds often change environments. Purple Swamphens are omnivores and eat a wide variety of plants and animals. They live in large family groups and lay an average of five eggs which are the shared responsibility of both parents and occasionally the responsibility of young from a previous brood who may also assist caring for the eggs. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This taxidermy specimen is of a Purple Swamphen which is styalised standing on a wooden platform and has a paper identification tag tied to its upper left leg. The Purple Swamphen has dark colouring on its back and head with a purple-blue coloured neck, breast and belly. The bill is oversized and is orange/red which is the same colour as the frontal shield on the bird's face. The eyes are made from a red and black glass and the legs of this specimen are orange. The legs are elongated and the toes also long and unwebbed. 17e. / Purple Gallinule / Catalogue Page 35 / taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, swamphen, moorhen, purple bird, hen, purple swamphen, water bird

The stencil set has signs of use, with ink on the metal and paper stencils, and in the mixing lid and the block and tube of ink have been used too. The larger brush in this set is labelled "rubber set". The phrase is not to be confused with the 1900-1950s firm Rubberset but ''rubber set" is the process of setting the bristles of a brush into rubber to keep them together and hold them in place. This stencil set once belonged to Dr William Roy Angus. He habitually labelled his possessions with his name - this stencil set may have been used for that purpose. This set is now part of Flagstaff Hill’s comprehensive W.R. Angus Collection, donated by the family of Dr W R Angus, 1901-1970, surgeon and oculist. The W.R. Angus Collection: - The W.R. Angus Collection includes historical medical equipment, surgical instruments and material belonging to Dr Edward Ryan and Dr Thomas Francis Ryan, (both of Nhill, Victoria) and Dr Angus’ own belongings. The Collection’s history spans the medical practices of the two Doctors Ryan, from 1885-1926 plus that of Dr Angus, up until 1969. It includes historical medical and surgical equipment and instruments from the doctors Edward and Thomas Ryan of Nhill, Victoria. Dr Angus married Gladys in 1927 at Ballarat, the nearest big city to Nhill where he began as a Medical Assistant. He was also Acting House surgeon at the Nhill hospital where their two daughters were born. During World War II He served as a Military Doctor in the Australian Defence Force. Dr Angus and his family moved to Warrnambool in 1939, where Dr Angus operated his own medical practice. He later added the part-time Port Medical Officer responsibility and was the last person appointed to that position. Both Dr Angus and his wife were very involved in the local community, including the planning stages of the new Flagstaff Hill and the layout of the gardens there. Dr Angus passed away in March 1970.This stencil set is an example of objects belonging to Dr. W. R. Angus, 1901-1970, surgeon and oculist. It shows the keeness of the owner to label his posessions. The W.R. Angus Collection is significant for still being located at the site it is connected with, Doctor Angus being the last Port Medical Officer in Warrnambool. The Collection includes historical medical objects that date back to the late 1800s.Stencil set with 27 metal cut stencils of the 26 letters of the Alphabet plus an ‘&’, and a metal clip to hold the set together (.1 - .28). The set also has two wooden handled brushes (large with a purple band .29, small with grey band .30) a solid block of black ink and a tube of black paint (.31 and .32) in a green tobacco tin, and a round metal lid used for mixing the inks. The set is contained in a vintage wooden cigar box with a hinged lid. Another stencil (8452.33) is made from stiff waxed paper and reproduces the medical symbol [serpent wound around a rod or cross]. This set is part of the W. R. Angus Collection.Stamped on a large brush "PURE BRISTLE" "RUBBER SET" and a logo (looks like the head of an animal) On small brush "- - - ER" On the wooden box lid and inside the lid "EL VUELO" within a round logo with leaves, "MANILLA LEAF" and on the long side "PERLAS" "25" On wooden box end handwritten in pencil "STENCIL" On ink in a tin "The "GREYS" "SILK CUT VIRGINIA TOBACCO" On the round lid "‘Cellona’"flagstaff hill, warrnambool, maritime village, maritime museum, shipwreck coast, great ocean road, flagstaff hill maritime museum and village, dr w r angus, dr ryan, w.r. angus collection, stencils, stencil set, bristle brushes, rubber set brush, metal stencils, waxed paper stencil, black ink block, black ink tube, stencil ink, labelling equipment, el vuelo, manilla leaf cigars, the greys, virginia tobacco, silk cut virginia tobacco

A hard backed black and white photograph of a child on a pony. The horse has a white mane and white legs. The child is formally dressed including a bonnet. In the background is a gate, front door entrance and stick fence. Behind the fence are ferns and other plants. The photographer is ? H. Smith, Photo., Kyneton.photograph, person, child and horse, lydia chancellor collection, collection, photography, photograph, photo, child, children, horse, animals, animal, costume, fashion, clothing

Winner of the 175th Anniversary of Edward Henty landing at Portland, Acquisitive Art Prize.Gouache on paper depiction of Edward Henty's arrival at Portland Bay. Cream coloured mat board. Light coloured wooden frame. Wire hanging cord. A colourful border depicting native animals as well as other items such as a steam train, shovel, cartwheels surrounds an image of the coastline. Each corner of the border shows a sailing ship. In the foreground are two Indigenous Australians seated on the floor surrounded by bushland. To the left stands a man in European clothing - green trousers and a striped top. He is ankle deep in the water. Behind him are two baskets which he holds with a chain. Behind that are two sheep. Top left is a parchment which says, Thistle the Pioneer, Nov 19th 1834.Front: Back - 'Jennifer McCarthy Edward Henty - Arrival 2009' - Brown texta Also framers sticker1834, the thistle, henty, colonial, portland bay

"Alexander Colquhoun [Herald art critic 1914-1922 and feature writer for the Age 1926-1941] ... took private students in the first decade of the century, and one of these was Winifred Miles, who after her marriage in 1910 lived the remainder of her life in Ringwood. ... (She) began by doing charcoal studies of animals when she was in Balranald, but in later years moved to oils and then watercolours, travelling around Ringwood to find places to paint by means of a pony-driven governess-cart. She won prizes for paintings in the Royal Melbourne Shows." - Hugh Anderson - Ringwood, Place of Many Eagles [p.217].Painting with cardboard border in glass-fronted frame. One of two undated paintings by Winifred Miles' viewed from the same vantage point in Wantirna. (See Registration Number 4851)

"Alexander Colquhoun [Herald art critic 1914-1922 and feature writer for the Age 1926-1941] ... took private students in the first decade of the century, and one of these was Winifred Miles, who after her marriage in 1910 lived the remainder of her life in Ringwood. ... (She) began by doing charcoal studies of animals when she was in Balranald, but in later years moved to oils and then watercolours, travelling around Ringwood to find places to paint by means of a pony-driven governess-cart. She won prizes for paintings in the Royal Melbourne Shows." - Hugh Anderson - Ringwood, Place of Many Eagles [p.217].Pencil drawing with cardboard border in glass-fronted frame.

"Alexander Colquhoun [Herald art critic 1914-1922 and feature writer for the Age 1926-1941] ... took private students in the first decade of the century, and one of these was Winifred Miles, who after her marriage in 1910 lived the remainder of her life in Ringwood. ... (She) began by doing charcoal studies of animals when she was in Balranald, but in later years moved to oils and then watercolours, travelling around Ringwood to find places to paint by means of a pony-driven governess-cart. She won prizes for paintings in the Royal Melbourne Shows." - Hugh Anderson - Ringwood, Place of Many Eagles [p.217].Painting with cardboard border in glass-fronted frame.

"Alexander Colquhoun [Herald art critic 1914-1922 and feature writer for the Age 1926-1941] ... took private students in the first decade of the century, and one of these was Winifred Miles, who after her marriage in 1910 lived the remainder of her life in Ringwood. ... (She) began by doing charcoal studies of animals when she was in Balranald, but in later years moved to oils and then watercolours, travelling around Ringwood to find places to paint by means of a pony-driven governess-cart. She won prizes for paintings in the Royal Melbourne Shows." - Hugh Anderson - Ringwood, Place of Many Eagles [p.217].Unframed painting with cardboard border.

"Alexander Colquhoun [Herald art critic 1914-1922 and feature writer for the Age 1926-1941] ... took private students in the first decade of the century, and one of these was Winifred Miles, who after her marriage in 1910 lived the remainder of her life in Ringwood. ... (She) began by doing charcoal studies of animals when she was in Balranald, but in later years moved to oils and then watercolours, travelling around Ringwood to find places to paint by means of a pony-driven governess-cart. She won prizes for paintings in the Royal Melbourne Shows." - Hugh Anderson - Ringwood, Place of Many Eagles [p.217].Painting with cardboard border in glass-fronted frame. One of two undated paintings by Winifred Miles' viewed from the same vantage point on Mullum Mullum Road in Ringwood. (See Registration Number 4848)Sticker on back of frame - "Ringwood Framing Gallery, 233 Whitehorse Road Ringwood, Phone 8704930"

"Alexander Colquhoun [Herald art critic 1914-1922 and feature writer for the Age 1926-1941] ... took private students in the first decade of the century, and one of these was Winifred Miles, who after her marriage in 1910 lived the remainder of her life in Ringwood. ... (She) began by doing charcoal studies of animals when she was in Balranald, but in later years moved to oils and then watercolours, travelling around Ringwood to find places to paint by means of a pony-driven governess-cart. She won prizes for paintings in the Royal Melbourne Shows." - Hugh Anderson - Ringwood, Place of Many Eagles [p.217].Painting with cardboard border in glass-fronted frame. One of two undated paintings by Winifred Miles' viewed from the same vantage point on Mullum Mullum Road in Ringwood. (See Registration Number 4847)Sticker on back of frame - "Ringwood Framing Gallery, 233 Whitehorse Road Ringwood, Phone 8704930"

"Alexander Colquhoun [Herald art critic 1914-1922 and feature writer for the Age 1926-1941] ... took private students in the first decade of the century, and one of these was Winifred Miles, who after her marriage in 1910 lived the remainder of her life in Ringwood. ... (She) began by doing charcoal studies of animals when she was in Balranald, but in later years moved to oils and then watercolours, travelling around Ringwood to find places to paint by means of a pony-driven governess-cart. She won prizes for paintings in the Royal Melbourne Shows." - Hugh Anderson - Ringwood, Place of Many Eagles [p.217].Painting with cardboard border in glass-fronted frame. Painted from an original black & white photograph, Catalogue Reg No. 1347 recorded as "Ringwood's first Post Office showing first Postmistress, Miss M. Thompson and her mother. 1890". (South side of Main Street (Maroondah Highway), approximately 300 meters west of Ringwood Railway Station). Writing on back of original photograph reads, "Grandma and Auntie Martha Thomson 1890". (Difference in painting date and photograph date indicates years as shown are approximate only). Sticker on back of frame - "Ringwood Framing Gallery, 233 Whitehorse Road Ringwood, Phone 8704930"