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

This wooden juggling club or exercise club may also be referred to as a juggling pin. It is very similar in shape to a bowling pin or an Indian club. It dates approximately to the early 20th century. It may have been used as one of a pair for gymnastics or exercise, or part of a larger set used by a juggler for entertainment in a circus or carnival. At some time it may have been used with a ball or disc as part of a Skittles or bowling game set. The historical collection of Federation University Australia, Victoria, includes a very similar but slightly shorter club, labelled ‘timber skittle”, as can be seen in their photograph. Another example of very similar-shaped, same-sized clubs can be seen in the collection of Nobelius Heritage Park and Emerald Museum, Emerald, Victoria. JUGGLING Jugglers entertain audiences with their tricks and routines at events such as circuses, amusement parks, parties, shows on television or theatre, schools and parties. Juggles also compete at International Championships to obtain world records, performing as individuals or in groups or teams. Contemporary champion juggler David Cain performs a Juggling History Show that both entertains and educates his audience. His routines date from the early 1600s to the 20th century. He uses a wide variety of equipment in his acts including juggling clubs. EXERCISE Exercise clubs or Indian clubs were used in 19th century Victorian times as part of exercise or strengthening programs when they were swung in certain patterns and movements. Even in the early 20th century workplace a few minutes of Indian club swinging was common practice for the relief of tension. A video clip of an American school room in 1904 shows a group of boys and girls skilfully wielding clubs in an exercise sequence (see ‘Links” section). The 1904 and 1932 Olympic Games had an event called Club Swinging. Rhythmic gymnastics was added to the Olympic Program at the L.A. Games in 1984 where competitors use apparatus such as rope, hoop, ball, ribbon and clubs. The clubs come in a variety of weights and heights and have been used from the mid-1800s until around the 1930s in schools and military institutions. They are decorated in a variety of patterns and colours and some have feature lines or scored rings on them. This juggling club is significant for its association with education, entertainment and sport in the late 19th and early 20th century.Wooden juggling club (or pin, skittle or Indian club). Vintage, bottle-shaped club with a flat, slightly concave, base. Its turned, solid timber body tapers out from the base then in again to a very narrow handle with a round knob joined onto the top. Two concentric feature lines are scored into the wider part of club. It was possibly used in exercise, gymnastics or as a skittle. Sections of the club have two brown painted stripes; paint on the lower strip has been worn off at the base . There are remnants of white paint in two areas, possibly the remains of a maker’s name or decoration. There also appears to be an inscription stamped into the wooden handle but this is illegible. Late 19th to early 20th century.Remnants of what appears to be stamped lettering and painted labelling.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, wooden skittle, entertainment, bowling skittle, wooden juggling pin, wooden juggling club, wooden exercise club, indian club, exercise club, club swinging, rhythmic gymnastics, sport equipment, juggling equipment, wooden club

"Cherry and Sons Pty Ltd", dates this churn to post 1904. In 1858, Edward Cherry began making butter churns in his spare time. Thisi became a full time business with the first factory opening in Gisborne in 1875, using imported NZ kauri pine. Steam was used to bend the base and then it was 12 months drying time before the churn was available for sale. Edward died in 1909 and the business was taken over by his son George until his death in 1917. During the polio epidemic in the 1930's, the company also made respirators. The company closed iin the 1970's.A wooden butter churn with handle and lid. the handle turns a spoked wooden paddle inside to make butter. It is a light brown colour, 30 centimetres high, 32 centimetres long and 21 centimetres wide. The wooden handle on the outside of the box is nine centimetres long three and a half centimetres wide tapering to one and a half centimetres wide, it's attached to a piece of metal that's 13 centimetres long, one and a half centimetres wide and half a centimetre thick. This is attached to a metal rod one centimetre in diameter that goes through the box and is attached to the other side of the box. A wooden frame 24 centimetres by 18 centimetres with two one centimetre wide pieces inside it is attached to the rod.CHERRY & SONS PTY. LTD. GISBORNE VICTORIA T1 Directions for use butter churn, cherry and sons pty ltd

This item is from the "Barone" Collection. "Barone" (also known as "Seaview") was a stately Brighton home built at 9 Moule Avenue prior to 1855 and demolished in 1986. The house's residents included Edward Elgin Browne (during 1859-72), a Melbourne tea merchant, and the family and descendants of retired Scottish Army captain Archibald Black (during the period 1880-1970). Its neighbors included “St Ninians” owned by the Ward- Cole family, “Seacombe” owned by the Moule family, and the home of James Grahame and his family. The items in the "Barone" collection were largely donated by two of the house's later owners, Mrs Doris Halkyard and Mrs Brian Brandt.Black silk satin, lace and beaded pelerine from c.1890. The pelerine features a silk high stand collar covered in black lace. It secures around the neck and down the centre front to the waist by seven hook and eye closures. A black lace frill extends down the centre front from the throat to the centre front tip of the garment. The shoulders feature a heavy, intricately beaded floral design open sleeve through which the arm would be visible. The sleeve finishes around the elbow in a point, however the beading hangs down to below the hip in a loose fringe. At the back from below the shoulder, the garment shapes in to finish in a tapered 'V' shape over the wearer's coccyx. There is a hand stitched "M" in white thread on the inside lining of the pelerine near the neck.pelerine, brighton, barone, seaview

A bodice belonging to the family of George Ward Cole in the late 1800s. George Ward Cole was an early member of the Victorian Parliament and the family featured prominently in Melbourne Society in their time. They established a substantial home known as “St Ninians” at 10 Miller Street in 1841. The family reportedly entertained Melbourne’s first Royal visitor The Duke Of Edinburgh, Queen Victoria’s second son, at St Ninians in 1867. In later years St Ninians was subsequently subdivided and later demolished. A hand sewn cream silk satin evening bodice from c.1865. This bodice features a very low, wide scooped neckline with a set in sleeve and four small pleats across the head of the shoulder. The elbow length, straight fitted sleeves are trimmed with a pleated ruffle that extends around the arm finishing at the elbow crease at the inside arm and tapering to mid forearm length at the back. The fitted bodice, lined with waxed linen, fastens down the centre front with eight covered buttons of the bodice fabric. The front two panels wrap around the sides of the bodice to meet another series of panels creating a princess line with a delineated central spine. The waist position is just below the natural waist at the sides, tapering to an elongated front covering the belly. From the sides towards the back it curves up to the natural waistline and then down again to a central point. The bodice is decorated with strips of the same fabric, which has been tucked, pleated and padded to create ruching. The ruching edge has a multi coloured thread, suggestive of rosettes, on both sides. In the front of the bodice, a strip runs down the centre front, concealing the buttonholes, and finishing at the elongated point. It then goes up the bodice over the bust line where it meets the neckline. It follows the neckline around the nape of the neck and back down the front over the bust line to the centre front. More strips run around the base of the fitted sleeve near the elbow above the ruffle. The rosette like coloured thread finishes the base of the ruffle. st ninians, george ward cole, bodice, late 1800s, brighton, margaret morrison ward cole

This clear, green tinged, Half Whirley (or Whirly) salad oil bottle has been handmade by a glassblower from 1870s-1910s. A bottle with such elaborate decoration would have been sought after as there was no need to decant the sauce into another jug or bottle to make it acceptable for table service. It is possible that this bottle was recovered from the Loch Ard, wrecked in 1878. A diver found the bottle on a shipwreck in the coastal waters of Victoria about 100 years from when it was made. The diver who found this bottle has recovered objects from several different shipwrecks between the late 1950s and early 1970s. A sizeable proportion of those objects was from the wreck of the famous clipper ship Loch Ard. This salad oil bottle may very well have been amongst that ship’s cargo. It is part of the John Chance Collection. A paper titled ‘Glass Bottles from the Loch Ard Shipwreck (1878): A Preliminary Study’ by Iain Stuart, (published in Australian Historical Archaeology, 9, 1991) included a study of twelve salad oil bottles from the wreck of the Loch Ard. The bottles were of this same Half Whirley design (half meaning that it was Whirley on the upper half but not on the lower half of the body), as well as the same colour and size. A diagram of one of these twelve bottles matches the bottle in our collection. The paper mentions that eleven of the twelve bottles have a number on their base, just as this one has. It is estimated that foreign and salad oil bottles totalled four percent of all of the bottles carried as cargo on the ship. The Half Whirley bottle has side seams from below the lip to the base, indicating that the bottle was made in a two-piece mould that included the heel, body, shoulder and neck. The fancy ‘whirly’ twist pattern and panelled sides would have been cut into the mould’s inner surface. The uneven thickness of the ridge around the base comes from adding a separately moulded and embossed base after the bottle was removed from the mould. The applied finish (mouth and lip) was also added to the bottle. The elongated bubbles in the glass are evidence of the glass being mouth blown into the mould, thus forming the shape and pattern from the inside shape of the mould. The bottle probably had a glass stopper with a round top and wedge-shaped shank with a ground surface, allowing the bottle to be re-sealed. The ring between upper and lower lip allows the closure to be sealed and anchored. The embossed numbers are either “133” or “833” and may represent a particular bottle pattern, manufacturer or filler. Although the bottle is not currently linked to a particular shipwreck, it is recognised as being historically significant as an example of bottles imported for use in Colonial Victoria in the mid-to-late 19th century. This whirley salad oil bottle is matches the whirley salad oil bottles recovered from the Loch Ard in the 1990s, adding depth of interpretation to the array of salvaged Loch Ard artefacts in Flagstaff Hill’s collection. The salad oil bottle is an example of the type of food condiment containers that were used in Victoria’s early days. The bottle is also significant as it was recovered by John Chance, a diver in Victoria’s coastal waters in the late 1960s to early 1970s. Items that come from several wrecks, including the Loch Ard, have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value. Bottle; glass Half Whirley salad oil bottle, green-tinged, with some opalescence. Handmade, elaborately decorated bottle with round neck and base, and five-sided body. Applied double lip; straight upper, flared lower. The lower neck and shoulder have twisted spiral whirley patterns in the glass. The body tapers slightly inwards towards the base. It has five plain panels, one wider than the others. Side seams run from below the lip to the heel. The heel of the bottle is uneven in width, height and density where it joins the body of the bottle. The base is not level. Embossed characters on base. Glass has elongated bubbles towards the base and orange-brown sediment inside, on one side. Embossed "133" or “833” (the first character may be an “8”) flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, john chance, glass bottle, antique bottle, handmade, mouth blown, blown bottle, 19th century bottle, collectable, bottle, green glass, tinged green, two piece mould, food bottle, oil bottle, salad oil bottle, whirley, whirly, half whirley, condiment bottle

A wooden racquet with solid, and tapered, convex throat, cloth tape shoulder reinforcements, and medium grooved handle. Features early use of laminated wood strips, nailed to side of stem, and up along throat and lower head. This is also painted brown. Inscription across throat on obverse: TUNMER/"SPECIAL". Inscription across butt cover, in French: A.A. TUNMER/& CO.//PARIS/A GARDER SOUS PRESSE. Adhered onto the throat on obverse is a small metallic - possibly silver - monogram, possibly spelling the initials K.B. On the throat on reverse, is inscription in French and Latin: MARQUE DE FABRIQUE DEPOSEE/ATA/IN HOC SIGNO VINCES. Materials: Wood, Gut, Cloth tape, Ink, Glue, Lacquer, Leather, Metal, Painttennis

Part of 'Woolcock Gallery Collection' Exhibited CEMA 1989.Stem view and details of a flowering plant in colour pencil. On left a stem view depicts stem with two off shoot branches of leaves and pea flowers on a long stem. The leaves are dark green, flat, long and gradually tapered with paler central vein. Flowers are purple with white partially blended striations. On right (t-b): front view of pea flower; side view with partial stem; rear view with sepals; leaf views with rear, front and side depicted in detail; side view of whithered flower. Numbered in pencil and typed letters on white paper affixed to surface of image. Mounted in double matt (pale grey on mauve), framed under glass in wooden gold and green frame.Front: Swainson phacoides (Dwarf Swainson Pea) (lower left) (pencil). CEW (lower centre in image) (maroon pencil). Back: 71 (upper left) (pen)collin woolcock, botanical, woolcock collection, cema, botanical drawings

BHS CollectionNavy blue dress of synthetic crepe fabric. Length to just below the knee. Elbow length set in fitted sleeves. Square neckline. Narrow shoulder sections gathered into bodice at each corner of neckline at front. Decorative buttons on seam- three each side (two missing on LHS).Padded shoulders. Three horizontal pleats at waist line that taper and narrow at centre back. Centre back opening fastened with thirty one fabric covered buttons and cotton cord loops Skirt made from two sections. Front section ungathered. Back section has four inverted pleats falling from 15 cms below the waist to create fullness. Hemline faced with 7 cms cotton fabric.costume, female, navy blue synthetic crepe dress

8A Built in 1908 and painted Canadian red & dark brown, this locomotive was issued to the Upper Ferntree Gully to Gembrook line. Over the years, it saw service on the Colac to Crowes and Moe to Walhalla lines, but it saw more service on the Gembrook line than any other. It was withdrawn from service in 1955 at Upper Fern Tree Gully and sold to the Beaumaris City Council where it remained on static display until 1970. After storage at Newport & Ballarat North Workshops, it was brought to Belgrave in 1976 for restoration. It was returned to service in 1982 after a complete rebuild in close to its late 1920s condition with its extended bunker & modified front end including the tapered “stovepipe” smokestack, steel cow-catcher and the all-over Black livery. Loco: 8A In service Monday, 2nd March 1908 Livery Canadian red & dark brown Owner Puffing Billy Gauge 762mm / 2' 6" Status Preserved - Operational Service History : May 1908 - UFTG. - initial allocation of a new locomotive May 1908 - Mar 1910 UFTG. Apr 1910 - Mar 1915 Colac Jun 1915 -Sep 1926 UFTG. Jan 1927 - Jan 1930 Moe Mar 1930 - Oct 1936 UFTG. Nov 1936 - Dec 1936 Moe Jan 1937 - Oct 1954 UFTG. Dec 1954 - Workshops Jan 1955 - Jan 1968 Other Jul 1970 - Apr 1977 Workshops Jul 1982 - Belgrave - In active service at Puffing Billy Railway Belgrave Victorian Railways - Narrow Gauge NA class steam locomotive number 8A Dates that 8A worked on the Gembrook Line Mar-1908 to Apr-1910 - initial allocation of a new locomotive Jun-1915 to Jan-1927 Mar-1930 to Nov-1936 Jan-1937 to Dec-1954 Jul-1982 - Returned to service PBRSteam Locomotive 8Apuffing billy, 8a, victorian railways, narrow gauge, steam locomotive

Black powder splitting guns were commonly used to split large logs into more manageable pieces before the advent of excavators and front-end loaders in bush logging operations. A typical splitting gun used in Victorian forests was a piece of high-grade steel about 1-1/2 to 2 inches in diameter and about 16 inches long, and slightly tapered at one end. They had a ¾ inch hole drilled about 9 inches deep into the centre of the shaft with a small pilot hole drilled from the outside to load the fuse. The tube was carefully loaded with an amount of black gunpowder using a funnel and spoon. Experience being the guide on how much powder to use, which depended on log size, species and difficulty of splitting the wood. The hole was stopped with a piece of wadded paper and the gun positioned at the end of a length of the log to be split. The splitting gun was then belted into the log with a large wooden maul or even the back of an axe to a depth of about 3 to 4 inches. There were often markings as a guide. This also had the effect of tamping the black powder inside the gun. Preferably the gun was backed up by another large log to absorb the shock and avoid it flying off in the bush somewhere. I have seen guns where a length of string and coloured flag could be attached to help find them. A length of fuse was then inserted in the small hole and lit. Kaboom !!!! Needless to say, the splitting gun was a dangerous implement.Commonly used to split pulpwood but now rareBlack Powder Splitting GunFive marking rings used to guide how far the gun was in the logforest harvesting

Black powder splitting guns were commonly used to split large logs into more manageable pieces before the advent of excavators and front-end loaders in bush logging operations. A typical splitting gun used in Victorian forests was a piece of high-grade steel about 1-1/2 to 2 inches in diameter and about 16 inches long, and slightly tapered at one end. They had a ¾ inch hole drilled about 9 inches deep into the centre of the shaft with a small pilot hole drilled from the outside to load the fuse. The tube was carefully loaded with an amount of black gunpowder using a funnel and spoon. Experience being the guide on how much powder to use, which depended on log size, species and difficulty of splitting the wood. The hole was stopped with a piece of wadded paper and the gun positioned at the end of a length of the log to be split. The splitting gun was then belted into the log with a large wooden maul or even the back of an axe to a depth of about 3 to 4 inches. There were often markings as a guide. This also had the effect of tamping the black powder inside the gun. Preferably the gun was backed up by another large log to absorb the recoil shock and avoid it flying off in the bush somewhere. I have seen guns where a length of string and coloured flag could be attached to help find them. A length of fuse was then inserted in the small hole and lit. Kaboom !!!! Needless to say, the splitting gun was a dangerous implement.Log Splitting gun (large 50cm)forests commission victoria (fcv), hand tools

Black powder splitting guns were commonly used to split large logs into more manageable pieces before the advent of excavators and front-end loaders in bush logging operations. A typical splitting gun used in Victorian forests was a piece of high-grade steel about 1-1/2 to 2 inches in diameter and about 16 inches long, and slightly tapered at one end. They had a ¾ inch hole drilled about 9 inches deep into the centre of the shaft with a small pilot hole drilled from the outside to load the fuse. The tube was carefully loaded with an amount of black gunpowder using a funnel and spoon. Experience being the guide on how much powder to use, which depended on log size, species and difficulty of splitting the wood. The hole was stopped with a piece of wadded paper and the gun positioned at the end of a length of the log to be split. The splitting gun was then belted into the log with a large wooden maul or even the back of an axe to a depth of about 3 to 4 inches. There were often markings as a guide. This also had the effect of tamping the black powder inside the gun. Preferably the gun was backed up by another large log to absorb the recoil shock and avoid it flying off in the bush somewhere. I have seen guns where a length of string and coloured flag could be attached to help find them. A length of fuse was then inserted in the small hole and lit. Kaboom !!!! Needless to say, the splitting gun was a dangerous implement.Log Splitting gun (large 45cm)forests commission victoria (fcv), hand tools

HISTORICAL INFORMATION In an article dated 26 March 1963, the Warrnambool Standard reported: “A cannon which has lain on the ocean floor since the barque, Children, was wrecked at Childer’s Cove on January 15, 1839, was raised by three Warrnambool skindivers at the week-end…The cannon, weighing about 750 lb. and 4-ft. 6-in. in length…is in excellent order considering the length of time it has remained under-water”. No conservation measures were taken at that time, other than chipping off the marine growth with hammers and cold chisels. The minutes for the 4 February 1974 meeting of the Flagstaff Hill Planning Board recorded that “a cannon recovered some time ago was lying in the garden of [one of the three original divers] and that it could be picked up at any time”. Peter Ronald, past Manager and Diver for Flagstaff Hill, notes that the CHILDREN cannon would have been recovered by the other divers around 1964. When the cannon came into care of Flagstaff Hill it was given basic conservation relevant to the time. (At the same meeting the Board was advised of the recovery of an anchor from the wreck of the CHILDREN by Flagstaff Hill divers (Peter Ronald, Colin Goodall and Gary Hayden, and Hank Howey and Andrew Coffee), and its interim relocation in the sea at the end of the Warrnambool Breakwater while awaiting conservation). The CHILDREN was owned by the pioneering Henty family of Portland. She was en route from Launceston to Adelaide, when she foundered in rough conditions at Childers Cove on 14 January 1839. The CHILDREN was a small three-masted barque, only 29 metres long and 254 tons weight, with 14 crew members and 24 passengers (including 9 children) on board. The ship was also carrying an awkwardly ballasted cargo of 1500 sheep, 8 bullocks, 7 horses, 5000 London house bricks, 6 whaling boats, and general trade goods. When the CHILDREN was driven into the limestone stack at the entrance to the cove, the seas smashed her into pieces within half an hour, and 16 lives were lost. The CHILDREN was an all-wooden ship, built in 1825 at Liverpool, and her shipwreck in 1839 is one of colonial Victoria’s earliest and most significant maritime disasters. There is little left to mark the tragedy on the seabed now, apart from some of the house bricks intended for the Henty’s Portland Bay settlement. Despite its poor condition, the CHILDREN’s signal cannon remains an important and interpretable record of her demise, (along with her anchor, the bottom half of her ship’s bell, and portions of a brass porthole - artefacts that are also in the Flagstaff Hill collection). In 2015 the CHILDREN cannon will undergo further conservation. (Conservation Management Plan for Victorian Guns and Cannon, South Western Victoria, May 2008, ref W/F/06) The shipwreck of the CHILDREN is of state significance — Victorian Heritage Register No. S116.A 1.3 metre iron 6pdr cannon recovered from the wreck of the CHILDREN. The shape of the cannon tapers from a thick round breech to a flared muzzle, with an 8 centimetre bore, and two side trunnions for pivoting on a wooden gun carriage. It was recovered from the shipwreck site of the CHILDREN by local divers in 1963. This small muzzle-loading signal cannon is in poor and unrestored condition. The cannon’s upper profile of smooth grey metal casing has corroded off, leaving an extensively oxidised rough red surface of crumbling iron. The bottom half of the cannon remains intact although the outer smooth casing also appears to be separating from the iron core of the barrel. Original grey casting is also missing from the breech and muzzle ends of the cannon. Corrosion and spalling of the upper surface layer of the cannon has removed the maker’s marks and specificationsflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, the children, ship’s cannon, signal cannon, childers cove, 1839 shipwreck, conservation of marine artefactsm, shipwreck-coast, flagstaff-hill-maritime-village, cannon, 6pdr small bore cannon, children cannon, defence, children, shipwreck, 1839

Pens, nib pens and later fountain pens, with suitable inks, were commonly used for writing communications from the 18th century to the mod 20th century. Fountain pens continue to be used and enjoyed. Dip pens with a wide variety of nibs are used for calligraphy writing, a hobby enjoyed by many people. The quality of the pen handle, the nib and the ink all work together to produce fine handwriting that expresses the character and mood of the writer. This Bakelite ink case has been specifically moulded to snugly contain an ink bottle, with just enough room to wrap the bottle with a padding or card or blotting paper. The screw top lid fits the case well and this container would be a good way to travel with ink because any spillage would be kept within the waterproof case. The Bakelite material is lightweight and strong. Ink bottle cases, or travelling cases, have been made as an accessory for nib pen writers. The first patent for a “pocket-case for bottles”, a wooden case, was applied for in the US in 1891. Other materials such as steel, pewter and aluminum as well as Bakelite have also been used. The British Museum has an elaborately decorated bronze ink pot holder that is inlaid with turquoise. Today ink bottle cases are even available in fabric with loops to attach to a belt. Bakelite, the material used for this ink bottle case, is made from synthetic materials and is an early form of plastic, developed in 1907 and used extensively until the 1940’s. It is still in used today for specific applications but has been largely replaced by more modern forms of plastics. This ink bottle case carries the imprint of Mabie, Todd & Co. (Aust.) Pty. Ltd. This form of company name was used from 1938 to the mid 1950’s. The Swan ink bottle’s information says it was made by Mabie, Todd & Co. Ltd., London and Sydney, so dates the ink bottle from about 1908 until 1934. (Australian newspapers display advertisements dated 1908 until 1934 for Sydney wholesalers and agents for Mabie, Todd & Co. Ltd.) ABOUT PERSONAL FOUNTAIN PENS (FOUNT PENS) A 1917 newspaper advertisement recommends that the owner of a “Swan” doesn’t lend it to anyone else to use due to its qualities of it personalised to the owner. It reads “Don’t lend your “Swan” fountpen, recommend it, but don’t let other people use it. You see, a good pen doesn’t wear, but its “tamper” (or spring) works into the writer’s pressure and manner of holding. Another person with a dashing style of writing may strain it do that it will no longer feel just like your own.” This personalisation of nib pens may be the reason that legal documents in the past being acceptable only if they were signed using a ‘wet ink’ pen. Forgeries of signatures could be easily detected as the nib takes on the character of the pen’s owner. A ballpoint pen was not acceptable. This is a strong contrast to modern times when a digital signature is widely accepted. ABOUT MABIE TODD Pty Ltd. The American company Mabie Todd began by making pencil cases in New York in the 1860’s. The Bard Brothers, makers of Gold nibs, joined Mabie Todd and the company was established in the 1870’s as Mabie Todd and Bard. In 1878 the company filed a patent for the design of a fountain pen and in 1884 the first Swan fountain pen was released. In 1884 a Mabie Todd and Bard office and showroom was established in London. In 1906 the company’s name changed to Mabie Todd & Co, New York. The UK offices also used this new name and in 1907 the UK began producing their own Swan pens. Manufacturing was going so well in England that New York sold their rights to European and Colonial business to the new Mabie Todd & Company Ltd of England. By the end of the 1930’s all components for the pens were being made in the UK; the pens in the London factory, the gold nibs in Birmingham and the ink in Liverpool. Newspaper articles from 1934 stated that Mabie Todd were large buyers of Tasmanian iridium, which had been welded with gold and used since 1834 for the tips of nib and fountain pens. Fountain pen points were the largest market buyers for Tasmanian iridium, which was classed as “the best in the world”. Production growth continued up until WWII times, when the headquarters and main factory were destroyed. Mabie Todd & Company Ltd of England rebuilt out of the inner city and by 1946 pen production began again. The market for nib and fountain pens was diminishing by this time, with people beginning to use the new ballpoint ‘Biro’ pens. The Mabie Todd bought shares in Biro Pens and in 1952 became Biro Swan. They went on to make more ballpoint pens than any other manufacturer in Britain. The ink refills that Biro-Swan produced came in five different viscosity or thickness xhoices, depending on the season and location of where the pen would be used . Along with the ballpoint pens, Biro-Swan also introduced a range of Calligraph pens to attract those following the new trend for italic writing. In 1948 Mr. T. Burke, a director for Mabie Todd & Co. (Aust.) Pty Ltd., announced that there would be a £40,000 factory built in Sydney in 1949 for the manufacture of ink. The plant for the factory would be imported from overseas. Sadly the company struggled against competition and in 1956 Mabie Todd closed business and no more Swan pens were produced. The ink bottle and container was donated to Flagstaff Hill Maritime Village by the family of Doctor William Roy Angus, Surgeon and Oculist. It is part of the “W.R. Angus Collection” includes historical medical equipment, surgical instruments and material once belonging to Dr Edward Ryan and Dr Thomas Francis Ryan, (both of Nhill, Victoria) as well as 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. ABOUT THE “W.R.ANGUS COLLECTION” Doctor William Roy Angus M.B., B.S., Adel., 1923, F.R.C.S. Edin.,1928 (also known as Dr Roy Angus) was born in Murrumbeena, Victoria in 1901 and lived until 1970. He qualified as a doctor in 1923 at University of Adelaide, was Resident Medical Officer at the Royal Adelaide Hospital in 1924 and for a period was house surgeon to Sir (then Mr.) Henry Simpson Newland. Dr Angus was briefly an Assistant to Dr Riddell of Kapunda, then commenced private practice at Curramulka, Yorke Peninsula, SA, where he was physician, surgeon and chemist. In 1926, he was appointed as new Medical Assistant to Dr Thomas Francis Ryan (T.F. Ryan, or Tom), in Nhill, Victoria, where his experiences included radiology and pharmacy. In 1927 he was Acting House Surgeon in Dr Tom Ryan’s absence. Dr Angus had become engaged to Gladys Forsyth and they decided he further his studies overseas in the UK in 1927. He studied at London University College Hospital and at Edinburgh Royal Infirmary and in 1928, was awarded FRCS (Fellow from the Royal College of Surgeons), Edinburgh. He worked his passage back to Australia as a Ship’s Surgeon on the on the Australian Commonwealth Line’s T.S.S. Largs Bay. Dr Angus married Gladys in 1929, in Ballarat. (They went on to have one son (Graham 1932, born in SA) and two daughters (Helen (died 12/07/1996) and Berenice (Berry), both born at Mira, Nhill ) According to Berry, her mother Gladys made a lot of their clothes. She was very talented and did some lovely embroidery including lingerie for her trousseau and beautifully handmade baby clothes. Dr Angus was a ‘flying doctor’ for the A.I.M. (Australian Inland Ministry) Aerial Medical Service in 1928 . Its first station was in the remote town of Oodnadatta, where Dr Angus was stationed. He was locum tenens there on North-South Railway at 21 Mile Camp. He took up this ‘flying doctor’ position in response to a call from Dr John Flynn; the organisation was later known as the Flying Doctor Service, then the Royal Flying Doctor Service. A lot of his work during this time involved dental surgery also. Between 1928-1932 he was surgeon at the Curramulka Hospital, Yorke Peninsula, South Australia. In 1933 Dr Angus returned to Nhill and purchased a share of the Nelson Street practice and Mira hospital (a 2 bed ward at the Nelson Street Practice) from Dr Les Middleton one of the Middleton Brothers, the current owners of what previously once Dr Tom Ryan’s practice. Dr Tom and his brother had worked as surgeons included eye surgery. Dr Tom Ryan performed many of his operations in the Mira private hospital on his premises. He had been House Surgeon at the Nhill Hospital 1902-1926. Dr Tom Ryan had one of the only two pieces of radiology equipment in Victoria during his practicing years – The Royal Melbourne Hospital had the other one. Over the years Dr Tom Ryan had gradually set up what was effectively a training school for country general-practitioner-surgeons. Each patient was carefully examined, including using the X-ray machine, and any surgery was discussed and planned with Dr Ryan’s assistants several days in advance. Dr Angus gained experience in using the X-ray machine there during his time as assistant to Dr Ryan. When Dr Angus bought into the Nelson Street premises in Nhill he was also appointed as the Nhill Hospital’s Honorary House Surgeon 1933-1938. His practitioner’s plate from his Nhill surgery is now mounted on the doorway to the Port Medical Office at Flagstaff Hill Maritime Village, Warrnambool. When Dr Angus took up practice in the Dr Edward and Dr Tom Ryan’s old premises he obtained their extensive collection of historical medical equipment and materials spanning 1884-1926. A large part of this collection is now on display at the Port Medical Office at Flagstaff Hill Maritime Village in Warrnambool. In 1939 Dr Angus and his family moved to Warrnambool where he purchased “Birchwood,” the 1852 home and medical practice of Dr John Hunter Henderson, at 214 Koroit Street. (This property was sold in1965 to the State Government and is now the site of the Warrnambool Police Station. and an ALDI sore is on the land that was once their tennis court). The Angus family was able to afford gardeners, cooks and maids; their home was a popular place for visiting dignitaries to stay whilst visiting Warrnambool. Dr Angus had his own silk worm farm at home in a Mulberry tree. His young daughter used his centrifuge for spinning the silk. Dr Angus was appointed on a part-time basis as Port Medical Officer (Health Officer) in Warrnambool and held this position until the 1940’s when the government no longer required the service of a Port Medical Officer in Warrnambool; he was thus Warrnambool’s last serving Port Medical Officer. (Masters of immigrant ships arriving in port reported incidents of diseases, illness and death and the Port Medical Officer made a decision on whether the ship required Quarantine and for how long, in this way preventing contagious illness from spreading from new immigrants to the residents already in the colony.) Dr Angus was a member of the Australian Medical Association, for 35 years and surgeon at the Warrnambool Base Hospital 1939-1942, He served with the Australian Department of Defence as a Surgeon Captain during WWII 1942-45, in Ballarat, Victoria, and in Bonegilla, N.S.W., completing his service just before the end of the war due to suffering from a heart attack. During his convalescence he carved an intricate and ‘most artistic’ chess set from the material that dentures were made from. He then studied ophthalmology at the Royal Melbourne Eye and Ear Hospital and created cosmetically superior artificial eyes by pioneering using the intrascleral cartilage. Angus received accolades from the Ophthalmological Society of Australasia for this work. He returned to Warrnambool to commence practice as an ophthalmologist, pioneering in artificial eye improvements. He was Honorary Consultant Ophthalmologist to Warrnambool Base Hospital for 31 years. He made monthly visits to Portland as a visiting surgeon, to perform eye surgery. He represented the Victorian South-West subdivision of the Australian Medical Association as its secretary between 1949 and 1956 and as chairman from 1956 to 1958. In 1968 Dr Angus was elected member of Spain’s Barraquer Institute of Barcelona after his research work in Intrasclearal cartilage grafting, becoming one of the few Australian ophthalmologists to receive this honour, and in the following year presented his final paper on Living Intrasclearal Cartilage Implants at the Inaugural Meeting of the Australian College of Ophthalmologists in Melbourne In his personal life Dr Angus was a Presbyterian and treated Sunday as a Sabbath, a day of rest. He would visit 3 or 4 country patients on a Sunday, taking his children along ‘for the ride’ and to visit with him. Sunday evenings he would play the pianola and sing Scottish songs to his family. One of Dr Angus’ patients was Margaret MacKenzie, author of a book on local shipwrecks that she’d seen as an eye witness from the late 1880’s in Peterborough, Victoria. In the early 1950’s Dr Angus, painted a picture of a shipwreck for the cover jacket of Margaret’s book, Shipwrecks and More Shipwrecks. She was blind in later life and her daughter wrote the actual book for her. Dr Angus and his wife Gladys were very involved in Warrnambool’s society with a strong interest in civic affairs. He had an interest in people and the community They were both involved in the creation of Flagstaff Hill, including the layout of the gardens. After his death (28th March 1970) his family requested his practitioner’s plate, medical instruments and some personal belongings be displayed in the Port Medical Office surgery at Flagstaff Hill Maritime Village, and be called the “W. R. Angus Collection”. The ink bottle case is significant for its association with writing methods commonly used during the colonisation of Australia until the mid-20th century. The protective Bakelite case demonstrates the value placed on caring for the user’s supply of ink and protecting other belongings of the user, enabling writers to easily carry and safely transport their ink without the concern of spilling it. The case’s design is a good example of the use of new technology. The properties of Bakelite have enabled its moulded design and make it waterproof and lightweight, easily cleaned, closely fitted to the shape of the ink bottle within and lid and base join together using a smooth screwing action. The maker’s marks have also been moulded into the Bakelite, therefore not distracting from the simple but elegant design. This ink bottle case also represents the period of early to mid-20th century when handwriting materials for writers using ink and nib pens were imported into Australia and developed for the Australian market and sold by wholesalers on behalf of overseas companies. Vintage brown Bakelite travelling ink bottle case (or holder, pot, well) containing glass ink bottle and original textured cardboard liner, made by Swan Ink, Mabie, Todd & Co. (Aust) Pty.. Ltd. The Bakelite container is shaped to fit snugly around the ink bottle. It still retains its original shiny finish, the lid screws on and off perfectly. The maker’s name is embossed on lid and base of the Bakelite container. The inkwell contains a glass Ink bottle with a tiny amount of dried up ink Swan triple filtered ink inside. The bottle is cylindrical with curved shoulders tapering to a neck of around 2cm. The white metal screw-on lid and the white and red paper label on the side of the bottle both have a printed description of the ink and maker. Circa 1934-1950’sBAKELITE INK CASE - embossed on either side of the lid “ “SWAN” INK / ”SWAN” INK “ - embossed into base, written in a circle “MABIE TODD & Co (Aust.) PTY. LTD.” GLASS BOTTLE – printed on lid “SWAN”/ [corporate logo combining letters ‘M, T, co’]/TRIPLE FILTERED/ INK.” - printed on label “SWAN” INK /FOR FOUNTAIN & / STEEL PENS / A BLUE BLACK INK OF/ THE FINEST QUALITY/ MADE IN ENGLAND/ MABIE. TODD & CO LTD …….. LONDON. SYDNEY/ Makers of “SWAN” Pens, Gold Pens & Ink“ - moulded into the base of the ink bottle and written around the bottom outside edge of the bottle are the words “THIS BOTTLE ALWAYS REMAINS THE PROPERTY OF/ MABIE TODD/AUST”flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, ink bottle holder, ink bottle case, ink bottle pot, travelling inkwell, portable inkwell, travelling ink pot, travelling ink bottle case, ink bottle, inkwell, ink well, swan ink, bakelite, dip pen ink, nib pen ink, fountain pen, fontpen, writing methods, stationery, mabie todd & co, swan fountain pens, biro-swan

This trophy was presented by the Country Women's Association (C.W.A) Kiewa Valley Branch circa 1950's. This was in a period when the C.W.A. was the major women's organisation which had the greatest influence amongst rural women (especially in isolated areas). This was a period when broad based communications were mainly by radio,women orientated magazines and the telephone. The CWA was an organisation that catered exclusively to women's needs. The atmosphere was one of "sisterhood" and covered nearly all the needs of rural based women. This one organisation incorporated knowledge and learning targeting women who physically may be isolated but not mentally. The C.W.A. motto "Honour our God, Loyalty to the throne, Service to the country, Through country women, For country women, By country women."The Kiewa Valley Group of the C.W.A. was a focal point for women in this still relatively isolated rural region to have a place of refuge from the heavy domestic demands that family and business exerted, and the need of a time and space to gain all the mental relaxation and group bonding necessary to balance the sometimes harsh environment that rural life presented.Silver plated chalice trophy has two "block ear" type handles fastened at the top lip and going 40mm vertically down to reconnect with the bowl. The bowl is connected to the dark brown plastic base by a brass (silver plating has worn off) stem (flower vase shaped).the chalice stem is attached to a circular tapered dome 30mm high which is also silver plated. The plastic base has a 35mm high extension rising from the broader circular bottom section and is rectangular in shape except for the quarter circular indent at each corner. The final circular base provides the chalice with the stability to stand on a flat surface. The whole of the base is hollow allowing the stem fastening nut to be viewed. The inscription on the chalice has been carefully and professionally scribed into the metal. "*C W A* KIEWA VALLEY GROUP H & H.I. EXHIBITION-PRIZE FOR MEMBERS. 40 & OVER" mementos, acknowledgement, cwa awards, trophies, rural women's club

A Line cream coloured knee length coat of crimplene fabric. Fabric has all over pattern of horizontal rows of looped knot pattern. Fabric also has silver thread woven into fabric. High round neck with stand-up collar - 4.3cm. Two press studs at top below collar, plus one hook and loop to close the collar. Full length front opening with 4.5cm band. Five 2cm fabric covered buttons – evenly spaced from neckline to below hip line. Front has two side darts at bust line. Two false pocket flaps (14cm x 5cm) set at 45° angle to side seams at hem line. Long straight set in sleeves slightly tapered to the wrist. Part of ensemble with 11400.520.Top inside back below neckline: Fashioned by Gina of Melbourne Registered TMS Crimplene. Made from terylene polyester fibre. Wash by hand or machine in warm water. Rinse thoroughly. Gently squeeze out surplus water. Drip dry.costume, female daywear, coat

Cohns Soda Syphon. This is a soda syphon made from clear colourless glass with a silver metal levered syphon top. The glass is etched with a circular label. The Label has the words 'COHN BROTHERS BENDIGO' arranged in a circular manner. In the Centre of the Circular label the Letters 'LT.D.' are also etched. Underneath the Main label are The Words 'British Syphon London' arranged in a circular form. The Sign 'Rg. No. 762, Australia' is also etched into the glass under the main label. The bottle has a 'fluted' shape and tapers towards the top. It is approximately 1 litre capacity diameter of the base is approx 80mm and height 350m. On the base of the syphon is a Trade Mark that appears to be a Hot air balloon or maybe a light bulb? Housed in wooden Cohns Soft-Drink crate Item # 7322Cohnsfood technology, bottles, soda syphon

Wedding Dress. A very delicate, beautiful dress, in a very fragile state, worn over a satin petticoat(11400.1154). Lace bodice, and full length tapered, lace sleeves. Boat shaped neckline, outlined with a tulle insert, that brings the neckline to a high round neckline at the throat. This fastens with two metal press-studs on the left shoulder. This high yoke is edged at the bodice edge with an 8 cm deep frill of tulle, edged at both sides with a narrow frill of tulle, and sewn to the yoke to give a scalloped effect. Skirt is sheer and made from two layers of tulle. A band of lace, 9 cm deep borders the hemline, at knee level and at hip level. Three metal hooks and stitched loops fasten a placket on the left hand side.costume, female, cream tulle and lace wedding dress

Men's black wool waistcoat, fastened with four fabric buttons (1.5cm diameter). Decorative lapels edged with Ric-Rac.Back section of black cotton. Fully lined with cream cotton fabric. Two front pockets lined with black cotton fabric (12 cm X 8 cm). Pockets with 2 cm band at opening edged with black Ric-Rac. Half belt across back of waistcoat (5 cm at sides tapering to 2.5.cm at centre), fastened at centre back with black metal buckle with two prongs. Found inside pocket - small pink pencil (5 cm) with silver coloured metal cap with 2 cm string attached, black metal hollow tube 3.5 cm X 2 cm.costume, male, mens black waistcoat

Cotton off white men's waistcoat with six 1.6cm white plastic buttons. High collarless V neckline. Cotton fabric has checked pattern with small red crosses on corners of checks. Fully lined with cream coloured cotton fabric. Three flat pockets on front each with 2 cm band across top edge. One breast pocket on LHS. Two pockets above waist fob watch button hole at front, 12 cm above hem. Pockets lined with cream coloured cotton fabric. Back of vest made of plain cream coloured cotton fabric. Half belt at back (tapering from 4.5cm at back to 2.5cm at centre) fastened with gold coloured metal buckle with two prongs. Buckle attached with button down flap.Imprinted on buckle ''PARIS'' ''SOLIDE''costume, male, men's white cotton waistcoat

Metal pea whistle, steel, nickel plated with a spring steel ring. Whistle component made from two stamped and folded pieces of steel plate with a "pea" inside. Spring steel ring held to the whistle with a pressed steel piece. Whole whistle appears to be silver soldered. On the top of the whistle, stamped into the flat plate is the words "The Acme Thunderer" and on the bottom "Made in England". Known by manufacturer as "Small whistle with tapered mouthpiece, produces high pitch". Made by J. Hudson and Co. (Whistles) Ltd. of Birmingham United Kingdom. See Web. site material (attached on file) for details of whistle, history etc. www.acmewhistle.co.uk/history.html Assumed belonged to Les Denmead and was his personal whistle, used by Inspectors. See J. Hudson web site - www.acmewhistles.co.uk (down loaded 10/1/2002)inspectors, whistles, tramways

A wooden construction of three pieces. The lower piece is eleven centimetres square and two centimetres high, there's a one centimetre right angle edge then angled two centimetre long and rising one centimetre section, then there's half centimetre high and seven centimetre square flat section. The middle piece nineteen centimetres high and four centimetres square at the bottom tapering to three centimetres square at the top, each side has two eleven centimetre groves in it that start and finish four centimetres from each end. The upper piece is a smaller inverted copy of the lower piece, it has four centimetre square attached to the middle piece and an eight centimetre flat square on top. It has a clear coating applied to it which is deteriorating. woodwork, small display pedestal

Dress made by Ludmilla Jenkins at her shop in North Road, Ormond. The dress was made for Rosalie Schwerkolt for her marriage to Marvin Bruce Whalen at St Andrew's Presbyterian Church, Gardiner, Victoria on Wednesday 1st June, 1966 and afterwards at Butleigh Wootton, 867 Glenferrie Road, Kew. Rosalie was married from 33 Straughton Road, Glen Iris.Rosalie is the great granddaughter of Johann August Schwerkolt, pioneer of Mitcham.1966 wedding dress of silk, velvet in Winter White colour lined in silk voile. The dress is a princess line with round crew neck. Sleeves are narrow and taper to a point using a dart and with a zipper fastening on seam. The arm seam also features three pleats at the inside of the elbow crease. The back has a zipper closing and princess line seams. The gown is full length at the front and at the back extends to a point for a 40cm train using an insert gore in the princess seam. Approximate measurement bust 31 inches or 79 cm waist 24.5 inches or 62 cm Hip 36 inches or 94 cm See also items NA5076 - Garter NA5077 - Good luck Charm NA5078 - Bible NA5090 - Stocking NA5091 - Veil Nonecostume, female ceremonial

This sturdy, deep hat box has been carefully constructed to give the contents utmost protection in the roughest of travel conditions. At the same time, attention to detail and quality of materials makes the box an attractive, desirable and useful piece of luggage. The supports inside the hat box show that the hat’s brim dipped at the front and back in the popular 1920s Homburg or Derby style. The hat box was likely to have been purchased, complete with its fashionable hat and personalised with the initials ‘G.M.’. The five shipping labels on the hat box tell that the owner traveller overseas with it on more than one occasion. The owner had first travelled with the shipping line Peninsular & Orient Steam Navigation Company, and may have been one the first Australian passengers in 1932, as the remnant of label on the base reads Sydney. The owner later voyaged under the company’s new name of P & O. and travelled from at least one of the voyages from Melbourne to London The square label, with “P & O” and red printed “M” in centre of circle, refers to alphabetical organisation of baggage by surname, connecting the owner ‘G.M.’ to the owner’s voyage with P & O. The P & O shipping line’s early beginnings started with the partnership of London ship broker Brodie McGhie Willcox and Scottish sailor Arthur Anderson in 1822. The partnership was joined by Irish shipowner Captain Richard Bourne in 1835 and they began operation as the Peninsular & Orient Steam Navigation Company with a service between London- Spain - Portugal. In 1932 the company expanded to include Australia with its passenger services departing from Sydney; in 1840 the company was incorporated. After various take-overs of other shipping lines and businesses, it operated under the name P & O. JOHN BRUSH The hat box was made by Australian saddle designer and maker, John Brush, Sons & Co. Brush began his saddlery trade in Roma, Queensland, His designing process included consulting with the men who rode and worked the horses. He was described in the Sydney Morning Herald of December 15, 1897, as a leading Sydney saddler, well known and reliable, with every kind of English and Australian saddle on view. John Brush established his business in 1840, operating from 371 George Street Sydney. A catalogue from that era jointly advertises John Brush (371 George Sty Sydney) and Butlers & Brush (432-4 Queen Street Sydney), both under the name of Edward Butler & Co. Pty. Ltd. The catalogue included saddlery, harness equipment, riding wear and travel goods, and strongly promoted the Wienkek made saddles, which he distributed Australia wide. John Brush, So & co. advertised its ‘new’ address in 1887, as 403 George Street Sydney. In 1898 Brush made a side-saddle for a customer, a design popular with gentlewomen of the era. The business was still operating over 100 years later, producing a catalogue in the 1950s.This early 20th century hat box is significant for being one of a kind in our Collection. Its fitted design shows the shape of the hat, dating it from the 1920s men’s fashions. The hat box is significant for being a high quality hat box made in Sydney, Australia by prominent and successful early colonial saddler and leather goods business, John Brush, Son & Co. The labels on the outside of the hat box are also significant, representing the prosperous lifestyle of an Australian traveller who purchased quality goods and cared for them. The traveller was able to depart from firstly the Port of Sydney and later the Port of Melbourne. Hatbox, oval shape, brown leather, strong, sturdy construction, six pieces, and metal lock on base. Wide lid, then tapers to a narrower base that has a red leather trim. Brown velvet fabric lining inside and covers some accessories. Other internal accessories are trimmed with plain red paper and blue and white striped paper. The lid has two attached leather tabs and a leather handle and underneath it has a drawstring liner and oval, gold-lettered maker’s label. The internal oval box has a leather retention strap and brim support. Separate moulded brim support is included. A detached leather strap with catch is inside the base. Inscriptions are stamped on the lid, printed on the maker’s label, attached as printed paper labels to the lid, sides, and under the base. Maker is John Brush, Son & Co. of Sydney. The owner’s initials “G.M” are embossed on the lid.Stamped on lid “G. M.” Label, oval, inside lid “JOHN BRUSH, SON & CO. / MANUFACTURERS & IMPORTERS / of / SADDLERY AND HARNESS / 403, GEORGE ST. / SYDNEY” Label, paper: “BAGGAGE, MELBOURNE TO LONDON’, part of word ‘CABIN’ and “P & O” Label, square, white background, black print, circular emblem: ‘PE - - - - - & ORIEN-’, ‘STEAM NAVIATION COMPY.’ BAGGAGE’ and a red printed “M” in centre of circle. Label, rectangular, white background, black print; narrow line border, text in rows and an ‘X’ overprinted, from corner to corner of the border: “BAGGAGE / P. & O. S. N. Co. / MELBOURNE / To / LONDON” Label, paper, rectangular, white background, black print, an “X” across the label: “CABIN / P & O / “ Label, paper, on base, “– aid” [Paid], “SYDNEY” flagstaff hil, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, hat box, leather hat box, vintage hat box, top hat, homburg hat, derby hat, travel ware, luggage, leather goods, travel goods, clothing accessory, men’s clothing, john brush, son & co, saddler, sydney firm, peninsular & orient steam navigation company, p & o, g.m., melbourne to london, sydney port, melbourne port, hat case

Clothing. Cream lace camisole with fabric inserts. Fabric inserts have cut out flower embroidery. Front opening with centre panel of lace fastened on RHS with four press studs - two at neckline, two at waistline. Two front panels have rectangular fabric inserts on either side of the centre lace panel. Fabric panel at back extends under arms to front of bodice. No side seams. Waist has 4 cm lace border tapered slightly to waist. Wide U shaped neckline at front and back. Yoke made up of triangular lace pieces that join at the shoulders to from shoe string straps at the top of the shoulders. Scalloped edges along neckline. Below the yoke on the centre back, a triangular lace insert dips to 1 cm above the lace waist band.LHS front panel of fabric. Black ink stamp E Fry (twice) Smudged.costume, female, underwear

Clothing. Navy blue textured fabric possibly crimplene. Long tapered sleeves fastened with three covered buttons and loops at the wrist. High back neckline shaped to a V shape at the front. Centre front opening fastens with sixteen covered buttons and loops. Front yoke has a rouleau trim of fleur-de-lyse, and circular coils from 1 cm to 1.5 cm diameter. Side front panels are shirred at the yoke seam, and gathered at the shaped waistline panel. Waistline has a diamond shaped panel- 2.5 cm wide at the side seams, and eleven cms wide at the centre. Where the buttons extend over the midriff panel, the panel is shaped in a 7 cm V shape. Midriff panel extends into a belt at the side seams, fastening at the centre with a press-stud, and decorated with a flower of seven rouleau coils-1 cm in diameter. Hand stitched hem.costume, female, long sleeved navy dress

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

The Northern District School of Nursing opened in 1950 in to address the issues around nurse recruitment, training and education that had previously been hospital based. The residential school was to provide theoretical and in-house education and practical training over three years. The students would also receive practical hands-on training in the wards of associated hospitals. The Northern District School of Nursing operated from Lister House, Rowan Street, Bendigo. It was the first independent school of nursing in Victoria and continued until it closed in 1989.A silver-plated Georgen style silver plated floral bowl in its original box. The base is ten centimetres diameter pedestal with a decorative scroll around the edge, it's five centimetres high and tapers four and a half centimetres. The bowl has a flat bottom with curved sides that rise six centimetres to a 14 centimetre opening. The lid has a decorative scroll on its edge which supports an open grid of five concentric circles with eight pieces radiating from the centre circle. Inside the bowl there is an eight centimetre diameter plastic frame to hold flowers. Engraved on the bowl is NORTHEN DISTRICT SCHOOL OF NURSING IN APPRICIATION POLICE EXAMINATIONS 1982. Engraved on the base is SILVER PLATED IANTHE OF ENGLAND The brown cardboard box has blue and white writing- IANTHE No 178 GEOGIAN STYLE, an image of the bowl, SILVER PLATED FLORAL BOWL. There is a small white sticker with black numbers 177 On the box written with black ink - GIFT ndns, floral bowl, police examinations 1982

Caulking is the use of cork or other substances to seal the seams and joints of the vessel to make them watertight. Caulking lasts for quite some time but eventually dries out and needs to be replaced. A mallet or hammer is often used with a caulking iron to drive it along the seams. The caulking iron’s blade is tapered to be narrower at the tip to make it easier to remove it from the joint. The shipwright’s tools on display in the Great Circle Gallery are connected to the maritime history of Victoria through their past owner, user and donor, Laurie Dilks. Laurie began his career as a shipwright in the mid-1900s, following in the wake of the skilled carpenters who have over many centuries used their craft to build and maintain marine vessels and their fittings. You can see Laurie’s inscription on the tool called a ‘bevel’. Laurie worked for Ports and Harbours, Melbourne, for over 50 years, beginning in the early 1960s. He and a fellow shipwright inscribed their names on a wheelhouse they built in 1965; the inscription was discovered many decades later during a repair of the plumbing. Many decades later Laurie worked on the Yarra moving barges up and down the river and was fondly given the title ‘Riverboat Man’ His interest in maritime history led him to volunteer with the Maritime Trust of Australia’s project to restore and preserve the historic WWII 1942 Corvette, the minesweeper HMAS Castlemaine, which is a sister ship to the HMAS Warrnambool J202. Laurie Dilks donated two handmade displays of some of his tools in the late 1970s to early-1980s. The varnished timber boards displayed the tools below together with brass plaques. During the upgrade of the Great Circle Gallery Laurie’s tools were transferred to the new display you see there today. He also donated tools to Queenscliffe Maritime Museum and Clunes Museum.The shipwright’s tools on display in the Great Circle Gallery are connected to the maritime history of Victoria through their past owner, user and donor, Laurie Dilks. Laurie began his career as a shipwright at Ports and Harbours in Melbourne in the mid-1900s, following in the wake of the skilled carpenters who have over many centuries used their craft to build and maintain marine vessels and their fittings.Caulking mallet; a thick wooden handle with a round ‘T’ cross-bar near the end. Metal reinforcing is added around the ends of the head. Both sides of the wooden head are flared outwards towards the end. The head is reinforced where it intersects with the handle and around the ends of the head just above the tips. It once belonged to shipwright Laurie Dinks.flagstaff hill, maritime museum, maritime village, warrnambool, shipwreck coast, great ocean road, shipwright, carpenter, shipbuilding, ship repairs, hand tool, equipment, caulking, ship maintenance, cooper, shipwright’s tools, shipwrights’ tools, tools, maritime trade, caulking mallet, caulking iron, laurie dilks, l dilks, port and harbours melbourne