Was attached to a wall near reception but was removed to storage in approx.. 2000 - 2002. The bell has strong associations with the Victorian Railways Era reflecting the service and ethos of Railways with its uniformed Porters welcoming and on duty as Night Porter and day for all guests needs. (Especially lost keys) assistance with luggage, room service and co-ordinating transit and transport with Railways buses and services. A personal recollection is of Joseph the Night Porter welcoming and assisting when as a family with four sleeping children we would arrive after midnight to the Chalet where rooms would be ready, beds turned down and all unpacking of the car supervised by Joseph. (J. Skeggs) "A number of specific items, which have been useful in the day to day operations of the Chalet, remain in the building with each complementing the other to provide context ,meaning and character to their setting. Items such as the hall porter bell, the many signs providing information to the guests, the wall clock, barometer and dinner bell point to the Chalet being a well-run social institution with a pleasant environment for rest, recreation and congenial company." (Pg 81 Historica, MBCC) Listed in Draft Inventory of Significant Collection items A.3 Fixtures and Fitttings. (Pg 165. Historica MBCC)Circular brass disc with inner (separate ) maroon button mounted in raised circular disc. Hall Porter is embossed with black colouring around half of outer, larger disc."HALL PORTER"

Set of two 35mm Kodak white cardboard colour slide by Keith Kings of 5/5/1968 .1 - construction of new curves from Fitzroy St and High St into St Kilda Road. Shows the old junction trackwork and road height differences. Note the temporary tram stop. .2 - ditto, shows the trackwork for High St behind the hotel and the Junction Hotel with a large Dunlop sign and Rothmans cigarette advert. See Keith's slide notes.Keith Kings stamp and number "23-27 and 23-28", with details of exposure. .1 - St Kilda Jtn by pass work. installing new turnout for Fitzroy St. In new track, New level is lower. Old curves replaced after a day's work to all normal service to resume during weekdays. .2 - St Kilda Bypass work. Installing new turnout for Fitzroy St. In new track looking south. Old Jtn out of photo to the left. New concrete track ready at rear on right. Hotel (which will remain in the middle of everything!!)trams, tramways, st kilda junction, fitzroy st, st kilda rd, trackwork, high st

Yields information about the SEC Wendouree Parade depot and the activities at the depot after closure.Set of seven Colour 27 x 27 mm slides in Kodachrome white cardboard mounts of activities and tramcars at the depot at or just after the time of closure. .1 - view of the depot, under exposed or a lady, possibly Lil Butler standing in front of the gates of the depot with some tramcars in the shed. .2 - view with 1 road doors closed of the scrubber tram on "0" road, derailment marks, and the tennis court lighting. .3 - partial view of a tram (bogie) just clear of one the depot doors. .4 - internal view of the depot - no lights - very underexposed - but shows the gloom! .5 - photo showing door step of a bogie tram. .6 - ditto with the lifeguard reset rod lifted - shows damage to the front panel of the tram. .7 - tram being readied for lifting or loading with E. Davis alongside - see Reg Item 6453 for a colour print as well. Negative of this filed with 6453. Slide mounts dated September 1971 Photo from the collection of Lilian Butler.ballarat, tramways, trams, sec depot, depot, wendouree parade, closure, tramcars, lifeguard, loading trams, scrubber, tram 37

Ten captions or label cards used in the Museum's exhibition entitled "Australia Remembers". Printed on ink jet coated paper, used Microsoft PowerPoint, BJC4000 printer, & Glued onto heavy card. Each has 2 Velcro dots on rear. .1 125 x 252 Group of Conductresses by No. 29 .2 87 x 270 Secret of Mrs. Mitchell's success - Treasure Tram .3 50 x 255 Fund raising - under Conductresses Triumph! - photo .4 102 x 250 Fund raiser float caption .5 75 x 237 Tram statistics caption - used for the two graphs .6 96 x 177 First conductresses ready to go .7 62 x 248 Replica headlight caption .8 75 x 263 Headlight drawing note .9 60 x 244 No. 27 caption .10 57 x 260 Women at work for the SEC Image of cards added 19/10/2013.trams, tramways, btm, exhibitions, world war ii

Set of three black and white photographs of activities around the tramway during November 1998 sent to the Editor of Trolley Wire - used in the February 1999 issue of Trolley Wire. All photos by Richard Gilbert. Photos taken early November 1998. 1145.1 - photo of the old fare signs with caption on the rear "Retirement at last for the Museum's original tram ride signs, in service for over twenty years, and looking like it. With the fare rise to $2 / $1 new signs were introduced." 1145.2 - Photo of crew in front of tram 26 with caption on the rear "On Springfest Day in early November, Motorman O'Neil and Conductor Giles on car 26, ready for the onslaught." - photo taken 1/11/1998. 1145.3 - photo equipment on trolley being moved around with caption on the rear - "The motor cases of car 33 are currently residing on the trolley for cleaning. Here they are being relocated to the bottom of 3 road by Al and Dave, with assistance from our youngest and keenest worker, Danny Edwards." All have captions written on back in blue ink (as noted in description) and "Richard Gilbert" in bottom right hand corner, and cropping marks in blue ink on rear.trams, tramways, trolley wire, springfest, btm, volunteers, tram ride signs, tram 26

Combing removes the short or broken fibres and draws out the long fibres into even strands suitable for spinning. The process is necessary to produce long and soft strands needed for worsted yarn. These machines remove the short fibres and blend the remaining long fibres together to form the top. The short fibres that are removed, known as the noil, are used in the woollen system. The long fibres are drawn together, ready for spinning. To retain as many of the valuable long fibres as possible, a skilled operator always needed to be on duty in the factory to precisely set the machine. A Nobel Comb separates short (Noils) fibres while also blending long (Tops) fibres together. The long fibres are used for worsted materials while the short fibres are used for woollen fabrics. Woollen materials are soft, bulky and fuzzy, such as a picnic blanket; whereas worsted materials are fine, smooth and crisp, such as a suit jacket. The Valley Worsted Mills in Geelong, now the Little Creatures Brewery, ran 12 noble combs up until 1981. Gold plaque on display with machine until 2018 read: G.H. Mitchell & Son, Adelaide have celebrated 125 Years of involvement with the Australian Wool Processing Industry by contributing the funds necessary to restore The Carding Machine, Noble Comb & The Gill Box.Noble Comb with plates - 'Prince Smith & Sons, Burlington Shed, Keishley' (One plate located on each gear box). 'Prince Smith & Sons, Burlington Shed, Keishley' (One plate located on each gear box).wool manufacturing, noble comb, textile industry, geelong, little creatures brewery, valley worsted mills, fibres, wool, factory

Whilst the foundation stone for the Ascot Vale Masonic Hall was laid in 1886 Gordon Lodge was not able to meet in their new lodge-room until 1887. In the meantime whilst the Ascot Vale Masonic Hall was being build subsequent meetings were held in the Essendon Council Chambers however this was not a satisfactory arrangement Consequently at the June 1886 meeting a motion was passed that the Gordon Lodge hold its meeting, “…at the Melbourne Masonic Hall, Collins Street East, until such time as the Ascot Vale Masonic Hall is ready for occupancy…” (Due to a ball in full progress) So for the next 6 months the Lodge met at the Masonic Hall at 25 Collins Street.

The Fred Rochow Railways Collection incorporates photos related to the operation of the Wodonga Railway Station including different types of trains and railways staff C. 1930 – 1990. It was donated to the Wodonga Historical Society by Fred Rochow, a railwayman who spent many years based in Wodonga. He joined the Victorian Railways on 17th June l947 and retired in 1988. For some time, he was a member of the Australian Federated Union of Locomotive Enginemen and served a term as a member of the Trades Hall Council. He had an extensive knowledge of the struggles that took place to achieve better conditions for railway workers. Fred worked for many years as a fireman and then worked his way up the ranks to driver, experiencing many changes from the days of steam locomotives through to diesel trains, locomotives and even the modern XPT train. He worked throughout Victoria at different stages of his career, with his final working years focused on the northeast of Victoria and the Albury to Melbourne line. After his retirement, Fred continued to share his love of steam miniature trains with the community.This collection has local and statewide significance as it captures images of trains, locomotives and personnel who operated the railway services in Wodonga and throughout Northeast Victoria. The railways played a critical role in opening up Victoria and connecting Australia for trade, business, social communication and transport.Railway Commissioner Harold Clapp and Mrs. Clapp ready to leave Albury on the "Spirit of Progress" in 1938. The Driver is George Lynch Snr. and the Fireman is E. Finley. Sir Harold Winthrop Clapp (7 May 1875 – 21 October 1952) was a transport administrator with the Victorian Railways who over the course of 30 years revolutionised the railways in Victoria. Clapp introduced faster services and more powerful locomotives, supported the farming sector and presented a report on standardising rail gauges which then led to a uniform rail gauge across capital cities. His most well-known project was the upgrade of the Sydney Limited service into the all-steel, all-air-conditioned, non-stop, high-speed express streamliner, Spirit of Progress which was launched on 17 November 1937. Clapp became Chairman of Commissioners of Victorian Railways in 1920 and remained Chairman until his retirement in 1951. Harold W Clapp was appointed a Knight Commander of the Order of the British Empire (KBE) in 1941 in recognition of his contribution to public service.railways wodonga, fred rochow, wodonga railwaymen, s class locomotive

This decorative crocheted tea cosy or teapot cover is handmade and used to help keep the tea hot and ready to serve. In the Words of donor, Betty Stone, … “These crocheted and embroidered articles cover a period of three generations- ie. Sarah (nee Chamberlain) Lees, Ann (nee Lees) Dale, and Daisy Elvena (nee Dale) Welsh. All three were accomplished needlewomen; also, both Sarah Lees (born 1844) and her daughter, Ann (b 1865) crocheted a wide variety of articles for use in their homes. A few examples of these items have survived the years.” It was a tradition for brides to have a 'glory box' containing linen and embroidered articles to take to their new home. Many of the items were made by Daisy, a skilled dressmaker. Daisy began her apprenticeship at two shillings and sixpence per week at Miss A. E. Emery's dressmaking establishment at 150-152 Liebig Street, Warrnambool. Considered to be the leading house of fashion in Warrnambool, Miss Emery employed about eight young women who worked long hours to sew elaborate gowns for clients, including wives of graziers who would attend the race carnivals and social functions in Warrnambool. (NOTE: For additional information please refer to my book Pioneer and Places- A History of Three Warrnambool Pioneering Families ie. Chamberlain, Dale and Lees families)This item is associated with the Warrnambool pioneer families of Chamberlain, Dale and Lees. These families are listed in the Pioneers' Register for Warrnambool Township and Shire, 1835-1900, published by A.I.G.S. Warrnambool Branch. The item is significant for its association with a ‘glory box’ or hope chest’, a tradition of single ladies making and collecting a range of linen and other domestic items in preparation for their future marriage. The item is a fine example of early 20th-century needlework and handmade domestic items.Tea cosy, white, crocheted cover with an incorporated flower design. Half circle in shape. Part of the Chamberlain Dale Lees Collection.flagstaff hill, warrnambool, flagstaff hill maritime museum and village, great ocean road, chamberlain family, dale family, lees family, betty stone, warrnambool pioneer, warrnambool genealogy, wangoom, chamberlain dale lees collection, glory box, handmade, craft, manchester, linen, haberdashery, needlework, crochet, teapot cover, tea cosy, tea service

This design of ink bottle or ink well was commonly referred to as a ‘penny ink well’ because it was very inexpensive to produce. It is also known as a dwarf bottle. Pen and ink has been in use for hand writing from about the seventh century up until the mid-20th century. Up until around the mid-19th century a quill pen made from a bird’s feather was used. In the 1850s the steel point pen was invented and could be manufactured on machines in large quantities. In the 1880s a successful portable fountain pen was designed, giving a smooth flowing ink and ease of use. Ink wells, used with steel nib dip pens, were commonly used up until the mid-20th century. The pens only held a small amount of ink so users had to frequently dip the nib of the pen into an ink well for more ink. Hand writing with pen and ink left wet writing on the paper, so blotting paper was carefully used to absorb the excess ink and prevent smudging. Ink could be purchased, ready to use, or in the powdered form, which needed to be mixed with water. After the invention of fountain pens, which had a reservoir of ink, and then ballpoint pens, which also had ink that flowed freely, the dip pen was slowly replaced. However, artisans continue to use nib pens to create beautiful calligraphy.This ink well is historically significant as it represents methods of hand written communication that were still common up until the mid-20th century, when fountain pens and ballpoint pens took over in popularity and convenience.Ink bottle or ink well, sometimes called a Penny Ink Well. Cylindrical body, salt-glazed, brown ceramic stoneware bottle, handmade. Stoneware bottle. flagstaff hill, warrnambool, shipwreck coast, flagstaff hill maritime museum, flagstaff hill maritime village, maritime museum, great ocean road, shipwreck artefact, writing equipment, writing accessory, office equipment, stationery, domestic, stoneware, clay, ceramic, pottery, ink well, inkwell, ink bottle, penny ink well, nib pen, dip pen, ink, hand writing, record keeping, household, business, vintage, blotting paper, dwarf bottle

0007-013. Bream A Project , Bass Strait 1987. The project is just starting. This photograph shows Anchor Handling Tug Supply (AHTS) vessels Lady Lorraine, Lady Cynthia, and Lady Carojine, Anchor Handling Tug (AHT)Lady Florence, and Derrick Barge DB 29 alongside Barry Beach Marine Terminal, Gippsland, Victoria. The DB 21 is taking on board equipment for the project prior to be towed out and positioned at the location in Bass Strait where the production platform Bream A will be installed. 0007-014. Bream A Project , Bass Strait 1987. Derrick barge DB 29 loading project equipment with Lady Lorraine alongside Barry Beach Marine Terminal, Gippsland Victoria. Also alongside the wharf is the barge Intermac 256 which is being prepared to having the Bream A Jacket (a Jacket is the base of the platform that will be landed on the sea floor and will then be pinned in place with piles driven down into the sea bed). 0007-017. Bream A Project , Bass Strait 1987. Helicopter on DB 29 helipad ready for take off with Lady Lorraine, Lady Gay and Lady Cynthia at Barry Beach Marine Terminal, Gippsland, Victoria. 0007-016. Bream A Project , Bass Strait 1987. Helicopter taking off from DB 29 with Lady Lorraine and Lady Gay at Barry Beach Marine Terminal, Gippsland, Victoria.Green, with gold border trimming photo album, containing 38 photographs depicting ships, barges and the construction of the Bream A oil and gas production platform in Bass Strait, Victoria, Australia 1987.

In 1885 John Francis Brown first planted 10 acres of vines in Milawa, Victoria. Brown Brothers was founded in 1889 when the vines were ready to produce their first crop, as John hoped his brothers would join him in this new and promising venture. This did not happen but the name remained. Since 1899 Brown Brothers has grown into one of Australia’s largest family-owned wine businesses and now operates several vineyards in Victoria and Tasmania. These ceramic jars were used by Brown Brothers in the 1970s and 1980s to package Port, Muscat and Tokay. Fortified wines packaged in this manner would maintain their quality for decades as long as the wax seal was unbroken. Elischer Pottery was started in Sandringham, Melbourne Victoria in 1947 by well-known sculptor John (Johann Wolfgang) Elischer (1891-1966) and his son, also named John, (known as Wolly). John (Snr) was born in Vienna and trained at the Academy of Vienna from 1908 to 1911 and was an Associate of the Royal Academy Vienna. John (Senior) died in 1966 and the business was continued by his son John (Wolly), until 1987 when it was sold. Prior to that, at some time, he started making pieces the brand NCP. The business continues today as “Unique Ceramics” in Highett, Victoria. They continue to use the “Elischer” brand on some of their products.This jug is representative of an historic and continuing leading Australian Winemaker located in Northeast Victoria.An earthenware wine jug created for Brown Brothers Milawa Vineyard manufactured by John Elischer Pottery. The jug has a tradition loop handle. The bottom half of the jug is a traditional beige colour with a darker brown top section. The logo is imprinted in black and is covered in a clear glaze. The cork stopper is still intact although before being opened would have been sealed with wax.Company logo on one side: at top a central male image between the text "Founding Father /John F Brown. In a central oval around the name "Milawa", BROWN BROTHERS/ VINEYARD AUSTRALIA" On base: "97"brown brothers milawa, elischer pottery, northeast victorian wineries

This cream and green patterned vest is said to have been made for William Herbert Teal as part of his "trouseau" on the occasion of his marriage to Daisy Edith Davis on April 14th 1916 at St. Peter's Church, Merino, Victoria, Australia. It is a handmade waistcoat but it is not known who made it. William Teal was born in 1889 to Elijah Teal and Isabella Campbell Reid in Camperdown, Victoria and after marrying, William and Daisy also lived (and worked as farmers) in the Camperdown area. They had seven children. Daisy died in 1962 and William died in 1975. A wedding portrait of William and Daisy shows William wearing a dark suit consisting of a single breasted coat, trousers, good shoes, gloves and a shirt with a stiff, high collar, however if he is wearing this vest, it is unfortunately hidden under his coat. Although by 1916, men's "ready to wear" clothing were widely available, this waistcoat was handmade (possibly by his mother or sister or future wife) and has been preserved by his family for almost one hundred years. Men's suits in the early part of the twentieth century were predomininantly three piece, consisting of a jacket, vest ( or waistcoat) and trousers made from matching fabrics. On special occasions (such as a marriage) the groom might also wear gloves and have a flower in his buttonhole. Some men liked to wear a watch attached to their waistcoat with a fob chain.This item is of significance as a rare example of a man's vest that was made for a special occasion (William Teal's marriage in 1916) and preserved by his family for several generations.Man's handmade vest with a green and cream patterned brocade front, trimmed with green cord around the edges and featuring four inset pockets (also trimmed with the green cord). It has six buttonholes down the left front edge (plus a hand embroidered buttonhole to hold a fob chain) and six corresponding holes for shank buttons (which are missing) down the right front edge. The back and lining are made from cream cotton fabric. The back has a centre seam and a strap with a metal buckle with prongs (to allow for adjusting the length). The cream lining and back display some discolouration and brown marks.flagstaff hill maritime museum and village, great ocean road, warrnambool, camperdown, merino, teal family, william herbert teal, daisy teal, daisy davis, waistcoat, man's waistcoat, vest, wedding, handmade vest, wedding clothes

Photo of a horse tram at the Kew Cemetery terminus with a uniformed MTOC. employee, two horses and the Cemetery buildings in the background. Has Victoria Bridge & Cemetery written on the side of the tram. 2nd copy added with different crop. Photo from the Collection of the Department of Infrastructure now with the Public Records Office - image number H1. Note: this photo is now out of copyright and was not an original VR photograph, but one copied from another source and collected as their Heritage series. From an email from Rod Atkins 29/7/2019: This Stevenson six widow saloon horse tram No 46 is fairly standard. The horse cars did not have wheel skirts like the cable trams 6 and 8 window cars. Sitting at the terminus in High Street at Parkhill Road at the gates of the Boroondara General Cemetery ready for its return trip to Richmond. The tram is being run one man. Note the location of gates, pay as you enter the front step. The driver has a conductors bag around his neck and waist. No conductor present in the photo. His uniform is classic Company issue. He is wearing a Tunic and vest! And early issue cap with a white band. Date: around circa 1900 as the clock tower, brick wall and cast iron fence are all in place and the car number is faded out. I have seen a photo of a tram there with no clock tower from around the opening of the line. Yields information about the Kew Horse tram and its tramcars.Black and white photograph with source notes on rear.Has part of the Department of Infrastructure copy right stamp on rear and number in ink on rear and "1-5"trams, tramways, horse trams, kew, mto co, cemetery, uniforms

This item was located in a book called The English Lakes which was owned by E.C. Holmes [Edward Carter Holmes was the name of my mother's, Elizabeth Mary [Elizabeth] Holmes family's pioneer settler. He arrived in Geelong on the 28th of June, 1849, with his wife Sarah and their first child Frances Harriet as assisted immigrants (people whose passage was subsidised by an assisted immigration scheme) to New South Wales at Port Henry, Geelong in the sailing boat ‘Larpent’. Sarah and Edward arrived two years before his mother, Harriet, arrived as unassisted passenger in Geelong on ‘The Eagle’. 200 of the " Larpent" passengers had been selected in England by Rev John Dunmore Lang whose wish was to encourage the migration of hard-working, God-fearing Protestants to the colony. He sponsored two ships, the "Travancore" and the" Larpent', to bring the settlers to Australia in 1849 with Dr Alexander Thomson, a Sydney Presbyterian minister, ready to receive and settle them. Thomson owned section 10 of the parish of Barrabool known as the Kardinia section — a square mile of undulating land west of Colac, still known today as Larpent. Among the 'Larpent' immigrants were many well-known Ballarat and District pioneers including Armitage, Mercer, Oddie and Scott. For more details about this migration scheme refer to: A thoroughly Protestant emigration: the emigration activities of the Rev. Dr. J.D. Lang / Ian Wynd.2006.] [source: Jane Dyer 2024] Printed card with a pressed botanical specimen glued onto it. Printed onto the card 'Flowers from the Holy Land. Placed on the Holy Sepulchrechatham family archive, chatham, holmes, ec holmes. holy land, relic, botanical, botany, holy sepulchre, botanical specimen

There is a single record with the RAN for a John Kidd, who commenced service in 1909 and left in 1912. Kidd was born in 1885 in Sydney and his mother lived in Queenscliff. He served on the HMAS Parramatta from 1911-1912. There is no evidence of him having served on the HMAS Melbourne. Kidd served from 1911-1912 on the HMAS Parramatta, the first ship launched for the Royal Australian Navy (RAN).A wooden box with mortise and tenon joins, brass fittings, circular handles, silver hinges and a name plate on the front. The box has a lift out section creating compartments. On the inside lid of the box is a postcard of the HMAS Melbourne surrounded by small rope decoration. A number of keepsakes are inside including a fidd for splicing ropes, a Capstan Wills tobacco tin, 3 postcards, a "Bengall Imperial" cut throat razor (T.R. Cadman & Sons, Sheffield England), black and white bakelite buttons with embossed crown and anchor and brass shank (either for war time or junior officers), gold naval buttons with embossed naval anchor and 2 piece shank (from a coat and cuffs), a bullet casing (Webley '45), a petty officers cloth badge (crossed anchors with a Crown), 4 shells, a good conduct badge (black with gold embroidery) and a red/brown vulcanized asbestos fibre fireproof dog- tag with rope attached."John Kidd" on front of box. "20171" stamped on edge of box. Tobacco tin: "Medium/"Capstan"/Registered/Ready Rubbed Fine Cut Tobacco/-1 oz net weight when packed/W.D. & H.O. Wills/(Australia) Ltd., Sydney. Postcard: Main Street, Samarai. Postcard: Sydney from Lavender Bay Kerry (Copyright) Sydney. Postcard: "Docks showing cathedral, Bristol BL 193. Copyright Lilywhite (1932) Ltd, Sowerby Bridge". Buttons: "AUSTRALIA/Y6-298", "Buttons Ltd B'HAM mark trade" "AUSTRALIA Stokes & Son Melbourne". Bullet casing "WEB WRA 45". Dog-Tag may read "L/Ford" written in ink?ditty box, john kidd, dog-tag, wwi identification tag, lilywhite ltd, w.d & h.o wills, stokes & son melbourne, naval buttons, hmas melbourne

Black and white photograph, mounted on cardboard, of a group of men and women posing with a trophy.Embossed on mount below photo: "Alf L. Bowden, The Studio, Corowa, N.S.W." Written on back of mount: "Coral Society 1932 | From left back - W. Steel, F. Uren, Mrs Heard, Miss P Smith, J. Small, Miss J. Smith, ---, ---, second back row: Mr Edmondson, Miss L Burch, ---, Miss N Campbell, Miss A. Quon, Mr Haig, Miss M. Denehy, W. Backman: second row: Miss Mudd, ---, ---, Mrs P. Fullerton (accompanist), Col. C. Denehy (conductor), Miss K. Denehy, Dr Banwick, Mrs C. A. Iggsten; Front, ---, Miss M. Ring, Miss A Knowles, Miss M. Ready"steel family, uren family, heard family, smith family, small family, edmondson family, burch family, campbell family, quon family, haig family, denehy family, backman family, mudd family, fern fullerton, charles denehy, bonwick family, iggsten family, ring family, knowles family, ready family

Yields information about the transfer of tram 42 to the Zion Congregational Church Oct. 1971Set of 12 Agfa blue and white plastic mount slides and 7 Kodak cardboard slides of the relocation of No. 42 from the SEC Ballarat Depot to the Zion Congregational Church - 5/10/1971 - See Reg Item 3929 for list of dates of tram disposal. .1 - Tram on the SEC owned low loader leaving the depot .2 - leaving the SEC depot .3 - in Wendouree Parade .4 - ditto at the kiosk .5 - in Drummond St south - not the witches hats - the SEC overhead crews probably dismantling the overhead .6 - arriving at the church .7 - ditto .8 - the site for the tram with the concrete blocks ready. .9 - backing in .10 - ditto .11 - arriving at the Zion Congregational church .12 - ditto .13 - handing the delivery docket over, includes .14 - at the church .15 - ditto - being lifted off the low loader .16 - up on the jacks, the low loader having been taken away .17 - part of the crew having a break .18 - person - church? holding the tram keys .19 - tram on the ground with the church sign alongside Photo from the collection of Lilian Butler. ballarat, tramways, trams, sec, depot, tram disposal, zion congregational church, disposal, tram 42

Set of 11 No. 35mm Agfa colour blue and white plastic mount slide - of the move of Ballarat trams 27, 28 and 14 from the old SEC depot onto the temporary access track to the BTPS depot on Saturday 15 July 1972 and Sunday 16 July 1972 (slides .10 and .11) .1 - John Withers and his land rover, towing No. 14 from the old depot - depot junction. .2 - No. 27 moves from Wendouree Parade onto the depot access track. .3 - ditto .4 - and onto the access track being pushed by hand. .5 - No. 28 being lifted onto the steel channels in order to slew it across Wendouree Parade .6 - being slewed across the road .7 - being readied to lift up onto the access track .8 - all three trams on the access track that evening. .9 - ditto Taken on 16 July 1972 .10 - No. 27 being winched up to the level crossing - Campbell Duncan ? on the winch. Note the mud! .11 - No. 14 being winched up the temporary access track - Rolf Jinks on the Winch. See Fares Please!, September 1972. tramways, trams, depot, btps, moving trams, wendouree parade, tram 27, tram 14, tram 28

Pattie BEERENS (1962- ) Born Sunshine, Victoria Pattie Beerens was enrolled in the Graduate Diploma of Ceramics at Federation University in 2018 after completing a Graduate Certificate Visual Art at the Victorian College of Arts, University of Melbourne in 2017.Artists' Statement: Red. Broken structure on its side supported with an unrecognisable form. It is cast from an electronics packaging carton. Triangular arrows piece the structure with a spider on either side. I created fertility spiders to protect the Minoan women from predators. I collected spiders as a child to ward off the bullies and, like the octopus, spiders have eight legs and a head and body. The stylised spiders reference links between the Minoan octopus and other symbols of fertility. The natural light elongates the form in a shadow reflection on the floor. The form is surrounded by black space. This piece took on an anger I felt on the day that [Malcolm] Turnbull was overthrown and materialises the bully-boy behaviour we were witnessing. What is most interesting about this piece is that I created it as a Minoan reflection. It dawned on me , when I had it ready for the kiln - on the day that Dutton challenged the Turnbull leadership, that my anger was both reflective and contemporary because nothing seemed to have changed. We were witnessing first hand how the power struggles continue and goodwill suffers." Winner of the 2018 Deputy Vice-Chancellor's Awardpattie beerens, ceramics, sculpture, available ceramics

Denis Gibbons (1937 – 2011) Trained with the Australian Army, before travelling to Vietnam in January 1966, Denis stayed with the 1st Australian Task Force in Nui Dat working as a photographer. For almost five years Gibbons toured with nine Australian infantry battalions, posting compelling war images from within many combat zones before being flown out in late November 1970 after sustaining injuries. The images held within the National Vietnam Veterans Museum make up the Gibbons Collection.A black and white photograph of Tonkin Gulf, North Vietnam 25th May 1967 Lt Stanley L Masterton briefs Australian War Correspondent, Denis Gibbons, during his visit to the Australian Guided Missile Destroyer HMAS Hobart. the briefing is taking place on the flag deck, where a large set of signal flags are visible in a ready use locker behind them. the ship, was at that time engaging, with ship to shore gunfire, a major "choke point" (an area where the North Vietnamese were preparing war supplies to be shipped to their units in South Vietnam) at the township of "Vinh". Hobart was expecting, at any moment, counted battery fire from North Vietnamese coastal batteries after radar stations on Hainan Island, Near Haiphong Harbour and at Vinh had locked onto Horart's position with very accurate triangular positioning. Lt Masterton was informing Gibbons of the incoming enemy fire and was worried he (Gibbons) was not wearing a helment, gibbons, most respectfully advised Lt Masterton that he could not operate his cameras with a helmet on. Hobart immediately turned and saled, very rapidly, out to sea as the counter battery fire commencedAustralian War memorial negative: Navy 13503hmas hobart, lt stanley l masterton, denis gibbons, vinh, hainan island, haiphong harbour, gibbons collection catalogue, tonkin gulf, australian war correspondent, australian guided missile destroyer, photograhp, enemy fire

Owned by Ella Thompson and donated by her daughter in law. Black and white postcard photograph of 23 women of the Rutherglen Hockey Team pre 1920.On back of card: "Hockey Team. pre 1920" Separate hand-written sheet identifies most of the players: "Back row l to r:- Glady Warren, Phyllis Williams (later Mrs Ted Buscall) Marion Chandler, Anne Sims (later Mrs Fred Gunter) Mrs Watt (wife of Rev Watt - Anglican Minister) Dolly Robbins, Ella Thompson (later Mrs David Terrill) Gert Owens, Alice Hawking (later Mrs Roy Ready) ______, ______, Nellie Burch (later Mrs Daniel O'Donoghue) ______; Front row l to r:- Beryl Warren, Jessie Grantham (later Mrs Brown) Jean Grantham, ______, ______, Anne Grantham, Glady Blowers, ______, Glady Williams (later Mrs Gerald Morris)"ladies hockey team, glady warren, phyllis williams, phyllis buscall, marion chandler, annie sims, annie gunter, mrs watt, reverend watt, dolly robbins, ella thompson, ella terrill, gert owens, alice hawking, alice ready, nellie burch, nellie o'donoghue, beryl warren, jessie grantham, jessie brown, jean grantham, anne grantham, glady blowers, glady williams, gladdy morris

The design of the bottle is sometimes called a ‘cottage’ or ‘boat’ shape. This 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.This ink bottle still retains its original cork. The method of manufacture is representative of a 19th-century, handcraft industry that is now largely replaced by mass production. The ink bottle is historically significant as it represents methods of handwritten personal and business 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' shaped ink bottle; small rectangular clear glass ink bottle with grooves in shoulders for holding pen. Bottle has side seams and a 'burst-lip'. The bottle retains its cork.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, 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, stencil ink, copy ink

The Bow Tie is a type of men's necktie that consists of a ribbon of fabric tied around the collar in a symmetrical manner such that the two opposite ends form loops. Ready-tied Bow ties are available, in which the distinctive Bow is sewn and a band goes around the neck and clips to secure. Bow ties may be made of any fabric material, but most are made from silk, polyester, cotton, or a mixture of fabrics. The Bow tie originated among Croatian mercenaries during the Prussian wars of the 17th century when the Croat mercenaries used a scarf around the neck to hold together the opening of their shirts. This was soon adopted under the name cravat, derived from the French for "Croat", by the upper classes in France, then a leader in fashion, and flourished in the 18th and 19th centuries. The most traditional Bow ties are usually of a fixed length and are made for a specific size neck. Sizes can vary between approximately 14 and 20 inches just like a comparable shirt collar. Fixed-length Bow ties are preferred when worn with the most formal wing-collar shirts, so as not to expose the buckle or clasp of an adjustable Bow tie. Bow ties are worn by magicians, country doctors, paediatricians, lawyers, professors musicians and by people hoping to look like the above and clowns also wear oversized ones. In the 1980’s fashionable and professional women wore a type of Bow tie. Most men only wear Bow ties with formal dress. A man's pre-tied black bow tie with a metal spring clip to attach to the shirt collar. The 2 spring clips have 'alligator teeth' to grip the collaron spring clip MADE IN AUSTRALIA SPRINGmenswear, clothing, bow ties, cheltenham, moorabbin, bentleigh, early settlers, pioneers, market gardeners, male neckwear

The Bow Tie is a type of men's necktie that consists of a ribbon of fabric tied around the collar in a symmetrical manner such that the two opposite ends form loops. Ready-tied Bow ties are available, in which the distinctive Bow is sewn and a band goes around the neck and clips to secure. Bow ties may be made of any fabric material, but most are made from silk, polyester, cotton, or a mixture of fabrics. The Bow tie originated among Croatian mercenaries during the Prussian wars of the 17th century when the Croat mercenaries used a scarf around the neck to hold together the opening of their shirts. This was soon adopted under the name cravat, derived from the French for "Croat", by the upper classes in France, then a leader in fashion, and flourished in the 18th and 19th centuries. The most traditional Bow ties are usually of a fixed length and are made for a specific size neck. Sizes can vary between approximately 14 and 20 inches just like a comparable shirt collar. Fixed-length Bow ties are preferred when worn with the most formal wing-collar shirts, so as not to expose the buckle or clasp of an adjustable Bow tie. Bow ties are worn by magicians, country doctors, paediatricians, lawyers, professors musicians and by people hoping to look like the above and clowns also wear oversized ones. In the 1980’s fashionable and professional women wore a type of Bow tie. Most men only wear Bow ties with formal dress. A pre tied white Bow tie sewn on a neckband with an elastic clip fastenermenswear, clothing, bow ties, cheltenham, moorabbin, bentleigh, early settlers, pioneers, market gardeners, male neckwear

The Bow Tie is a type of men's necktie that consists of a ribbon of fabric tied around the collar in a symmetrical manner such that the two opposite ends form loops. Ready-tied bow ties are available, in which the distinctive bow is sewn and a band goes around the neck and clips to secure. Bow ties may be made of any fabric material, but most are made from silk, polyester, cotton, or a mixture of fabrics. The Bow tie originated among Croatian mercenaries during the Prussian wars of the 17th century when the Croat mercenaries used a scarf around the neck to hold together the opening of their shirts. This was soon adopted under the name cravat, derived from the French for "Croat", by the upper classes in France, then a leader in fashion, and flourished in the 18th and 19th centuries. The most traditional Bow ties are usually of a fixed length and are made for a specific size neck. Sizes can vary between approximately 14 and 20 inches just like a comparable shirt collar. Fixed-length Bow ties are preferred when worn with the most formal wing-collar shirts, so as not to expose the buckle or clasp of an adjustable bow tie. Bow ties are worn by magicians, country doctors, lawyers, paediatricians, professors musicians and by people hoping to look like the above and clowns also wear oversized ones. In the 1980’s fashionable and professional women wore a type of Bow tie. Most men only wear Bow ties with formal dress. This white bow tie is a 'fixed length' type that needs to be tied by the person wearing it. MAKO SIZE 15 1/2 menswear, clothing, shirts, collars, early settlers, fashion, cheltenham, moorabbin, dairy farmers, market gardeners, bow ties, mako pty ltd

The Bow Tie is a type of men's necktie that consists of a ribbon of fabric tied around the collar in a symmetrical manner such that the two opposite ends form loops. Ready-tied bow ties are available, in which the distinctive bow is sewn and a band goes around the neck and clips to secure. Bow ties may be made of any fabric material, but most are made from silk, polyester, cotton, or a mixture of fabrics. The Bow tie originated among Croatian mercenaries during the Prussian wars of the 17th century when the Croat mercenaries used a scarf around the neck to hold together the opening of their shirts. This was soon adopted under the name cravat, derived from the French for "Croat", by the upper classes in France, then a leader in fashion, and flourished in the 18th and 19th centuries. The most traditional Bow ties are usually of a fixed length and are made for a specific size neck. Sizes can vary between approximately 14 and 20 inches just like a comparable shirt collar. Fixed-length Bow ties are preferred when worn with the most formal wing-collar shirts, so as not to expose the buckle or clasp of an adjustable bow tie. Bow ties are worn by magicians, country doctors, lawyers, paediatricians, professors musicians and by people hoping to look like the above and clowns also wear oversized ones. In the 1980’s fashionable and professional women wore a type of Bow tie. Most men only wear Bow ties with formal dress. A man's pre tied black bow tie with an elastic fastening clipmenswear, neckties, bow ties, cheltenham. moorabbin, bentleigh

An article in the Sun about the donation of the Changi violin to Legacy in 1982. It mentions that the violin was thrown over the fence at Changi prison and Mr Roy Arnel played it for the 3 and half years he was in Changi. When the war ended he went around the camp getting concert party members and friends to sign it. He died in January 1982 and his wife Netta contacted Legacy who had it restored by Roger Lewis. He said many of the parts were not original but had been made for it in prison. The notation H35 in red pen shows that it was part of the archive project that was trying to capture the history of Legacy. The text of the letter to President E J Larkin says: Dear Ed, I attach a press cutting which is self explanatory except that the violin has been given to me on behalf of Legacy by one of many widows - Mrs Arnel. I have discussed with 'Kem' Kemsley and others what we should do with this interesting relic. Kem has endorsed my fear that if it is sent to Canberra no-one will ever see it. The prospective War Museum in Victoria will not be ready for some years and could not handle it. I suggest that is be displayed 'pro?' at Legacy House until it could be passed to the Victorian War Museum. Both Mrs Arnel and Kem agree with this suggestion. I should be glad to make a display cabinet if Legacy agrees to the above suggestion. I shall be glad if you will return the cutting to me in due course. Yours sincerely Roger Westerback (?) 581.A record of the donation of the Changi violin to Legacy in 1982.White A4 photocopy of an article about the Changi violin published in the Sun in 1982 and a copy of a two page letter.Handwritten H35 in red pen. history, changi violin

Photographs of the loading, transport and off loading of ex MMTB/Metropolitan Transit scrubber tram No. 8W (8) from Preston Workshops to Ballarat on 10/9/1999. All on Kodak Royal paper. Most feature a number of people in the photograph. 1. Loading tram at Preston 2. ditto 3. ditto 4. tram loaded 5. Ready to leave Preston with articulated tram No. 2121 alongside. 6. ditto 7. Arrived in Wendouree Parade, rainy day. 8. ditto at Windmill Drive North - L.Arthur truck 9. Moving to off loading position at Old loop, with tower truck in background 10. Barry James crane about to lift. 11. Lifted off truck 12. About to be lowered onto the ground 13. ditto 14. On the track 15. Crane being packed up. 16. Waiting to be towed. 17. W3 661 being coupled up. 18. ditto 19. Group photo - from left to right - Paul Mong, Mark McKay, Alastair Reither, Stephen Butler, Carolyn Dean, John Phillips, Simon Jenkins, Warren Doubleday and Alan Snowball. 20. Being towed into the depot 21. Crossing Wendouree Parade 22. Being pushed by 671 into 7 Road. Note image 19A used by Museums Australia in a display - collections and people, 9/2001 - display boards. - similar image to 19, photo by Carolyn Dean on Warren Doubleday's camera. Added 2/2002. See item 9623 for other two photographs.Yields information about the BTM Acquisition of the scrubber tram No. 8Set of 22 colour photographs taken by Carolyn Dean. All have "10.9.99" and "Photo by Carolyn Dean" on rear.scrubber tram, delivery of tramcars, unloading, btm, tram 8, tram 8w